THOMAS  WOOD  &  CO.  I 

FAIRMODNT  MACHINE  WORKS, 

22d  &  Wood  Sts.,       PtiiladelphLia,  Pa. 


POWER  LOOMS. 


SHA 


PATENT 


Patent  Bobbin  Winding  Machines. 
Patent  Cop  Winding  Machines. 
Improved  Presser  Beaming  Machines. 
Plain  Beaming  Machines. 

Improved  Reels  for  Wool,  Worsted,  Cotton,  Linen,  etc. 
Ii 

I      pRflNKLiN  Institute  LmR/iRT 

FHIL/lbELrtllA 


Class  (^3  7  ^  Book 


Accession  ./<?<5^?>v3 


Article  V.— The  Library  shall  be  divided  into  two  clas.ses  ;  the  first 
comprisin<;  such  works  as,  from  their  rarity  or  value,  should  not  be  lent 
out,  all  unbound  periodicals,  and  such  te.xt  books  as  ought  to  be  tound 
in  a  library  of  reference  except  when  required  by  Committees  ot  the 
Institute,  or  by  members  or  holders  of  second  class  stock,  who  have 
obtained  the  sanction  of  the  Committee.  The  second  class  shall  include 
those  books  intended  for  circulation. 

Article  VI.— The  Secretary  shall  have  authority  to  loan  to  Members 
and  to  holders  of  second  class  stock,  any  work  belonging  to  the  skcond 
CLASS,  subject  to  the  following  regulations: 

Section  7. —No  individual  shall  be  permitted  to  have  more  than  two 
looks  out  at  one  time,  without  a  written  permission,  signed  by  at  least 
two  members  of  the  Library  Committe ;  nor  .shall  a  book  be  kept  out 
more  than  two  week.s  ;  but  if  no  one  has  applied  for  it,  the  former  bor- 
rower may  renew  the  loan.  Should  any  person  have  applied  for  it,  the 
latter  shall  have  the  preference.  i  ^  i. 

Section  2— A  fine  of  ten  cents  per  week  shall  be  exacted  tor  the 
detention  of  a  book  beyond  the  limited  time  ;  and  if  a  book  be  not  re- 
turned within  three  months  it  shall  be  deemed  lost,  and  the  borrower 
shall,  in  addition  to  his  fines,  forfeit  its  value. 

Section  5.— Should  any  book  be  returned  injured,  the  borrower  shall 
pay  for  the  injury,  or  replace  the  book,  as  the  Library  Committee  may 
direct ;  and  if  one  or  more  books,  belonging  to  a  set  or  sets,  be  lost,  the 
borrower  shall  replace  them  or  make  full  restitution. 

Article  VII.— Any  person  removing  from  the  Hall,  without  permis- 
sion from  the  proper  authorities,  any  book,  newspaper  or  other  property 
in  charge  of  the  Library  Committee,  sh  ill  be  reported  to  the  Committee, 
who  may  inflict  any  fine  not  exceeding  twenty-five  dollars. 

Article  VIII.— No  member  or  holder  of  second  class  stock,  whose 
annual  contribution  for  the  current  year  shall  be  unpaid  or  wlio  is  in 
arrears  for  fines,  shall  be  entitled  to  the  privileges  ot  the  Library  or 
Reading  Room.  .    i     v,  n 

Article  IX.— If  any  member  or  holder  of  second  class  stock,  shall 
refuse  or  neglect  to  comply  wiih  the  foregoing  rules,  it  shall  be  the  duty 
of  the  Secretary  to  report  him  to  tlie  Committee  on  the  Library. 

Article  X.— Any  Member  or  holder  of  second  class  stock,  detected 
in  mutilating  the  newspapers,  pamphlets  or  books  belonging  to  the  Insti- 
tute shall  be  deprived  of  his  right  of  membership,  and  the  name  ol  the 
ollender  shall  be  made  public. 


ETC. 


FLANG/. 


■  liUiii!!!!!!! 


"I 


MANUFACTURERS  OF 


Single  Lift  Jacquard  Machines, 
Double  Lift  Jacquard  Machines, 
Raise  and  Drop  Jacquard  Machines, 


O 


Witch  Motions, 
Dobby  Machines, 
Heddle  Machines, 


Jacquard  Card-Lacing  Machines. 


PIANO  STEAM-POWER  CAI 
STAMPING  MACHINE. 

For  Jacquard  Cards. 

The  speed  is  comp'etelv  at  the  > 
of  the  operator,  and  wdl  punch 
high  as  lyosirokes  per  minute.  T 
capacity  is  about  double  that  o 
foot-power  machine.  Two  cards  can 
be  stamped  at  once. 


urup  arc  especially  aaapte  1  to  weaving  the  finest  silk  and 
worsted  goods. 


PIANO  FOOT-TREADING 
ARD-STAMPING  MACHINE. 

I  have  lately  re-constructed  this 
achine,  making  it  more  compact 

by  a  novel  and  durable  escapement 

of  the  rack. 


The  only  successful  machine  ever 
introduced  for  this  pupose. 

Far  superior  to  hand  lacing  for  regu- 
larity and  durability. 

Light-running,  simple  and  durable. 

Can  be  operated  by  a  small  girl  or 
boy. 


Will  lace  800  to  2000  cards  per  hour. 

Thoroughly  and  satisfactorily  tested. 

Weighs  about  500  pounds. 

Machines  now  in  operation  and  ready 
for  the  inspection  of  manufacturers. 

Machines  placed  on  trial  with  re- 
sponsible parties. 


JACQUARD  CARD-LACING  MACHINE. 


Nos.  14:  to  36  Canal  Street,  PtilladelpLiia,  Pa. 

{Take  red  car  on  Third  Street  to  Frank  ford  Avenue  and  Canal  Streets.) 


KNOWLES  LOOM  WORKS, 

WORCESTER,  MASS. 

~-sof  LOOMS  FOR  ALL  STYLES  OF  WEAVING 

THE  ILLUSTRATION  ON  THIS  PAGE  REPRESENTS  OUR 

HEAVY  WORSTKD  LOOlVr. 

Of  Twenty-five  or  Thirty  Harness  Capacity  4x4  Box,  with  Single  or  Double  Beam,  /nade  from 
new  and  heavy  patterns  and  fitted  with  every  device  that  experience  has  shown  to  be  practical,  while 
we  have  striven  not  to  overload  it  with  useless  attachments  which  would  be  a  source  of  vexation  or 
expense  by  reason  of  breakage. 


The  Loom  is  built  with  Entire  New  Driving  Gears,  Friction  pulley  if  desired,  Positive  Box 
Motion,  Heavier  Upright  Shaft  and  Gears,  complete  system  of  Positive  and  Conditional  Take-up 
Motions,  Filling  Stop  Motion,  Equal  Driving  Gears  for  crank  and  bottom  shafts,  and  other  new 
devices  which  combine  to  make  this  the  very  best  loom  in  the  market,  and  one  upon  which  we 
guarantee  to  weave  every  variety  of  fabrics  from  the  simplest  to  the  most  intricate  that  can  be  woven 
on  any  loom  in  the  world. 

This  Loom  is  also  arranged  with  Jacquard  for  more  extensive  and  intricate  patterns  in  Fancy 
Worsteds,  etc. 

The  Superiority  of  the  Open  Shed  principle  of  weaving  has  been  fully  established  by  the  success 
of  this  loom,  and  we  are  more  fully  persuaded  than  at  the  first  that  it  is  the  true  theory.  The  ver- 
dict of  the  numerous  manufacturers  who  have  them  in  successful  operation  is  ;ufiicient  guaranty  of 
the  merits  of  the  loom.      (Send  for  CircU-lar.) 


MANUFACTURERS  OF 


Single  Lift  Jaequard  Machines, 
Double  Lift  Jaequard  Machines, 
Raise  and  Drop  Jaequard  Machines, 


o 


AA/itch  Motions, 
Dobby  Machines, 
Heddle  Machines, 


Jaequard  Card-Lacing  Machines. 


PIANO  STEAM-POWER  CARD- 
STAMPING  MACHINE. 

For  Jacquard  Cards. 

The  speed  is  completely  at  the  will 
of  the  operator,  and  will  punch  as 
high  as  lyosvrokes  per  minute.  The 
capacitj  is  at  out  double  that  of  a 
foot-power  machine.  Two  cards  can 
be  stamped  at  once. 


JACQUARD  MACHINES. 

Made  for  weaving  figured  goods  of  all  kinds,  from  the  light- 
est to  the  heaviest,  either  for  silk,  cotton  or  wool.  Single  lift, 
double  lift  or  raise  and  drop  machines.  Harness  tied  up 
and  made  ready  to  set  on  looms  of  any  make.  Our  raise  and 
drop  are  especially  adapted  to  weaving  the  finest  silk  and 
worsted  goods. 


PIANO  FOOT-TREADING 
CARD-STAMPING  MACHINE. 

I  have  lately  re-constructed  this 
machine,  making  it  more  compact 
by  a  novel  and  durable  escapement 
of  the  rack. 


The  only  successful  machine  ever 
introduced  for  this  purpose. 

Far  superior  to  hand  lacing  for  regu- 
larity and  durability. 


Light-running,  simple  and  durable.  | 


Can  be  operated  by  a  small  girl  or 
boy. 


Will  lace  800  to  2000  cards  per  hour. 

Thoroughly  and  satisfactorily  tested. 

Weighs  about  500  pounds. 

Machines  now  in  operation  and  ready 
for  the  inspection  of  manufacturers. 

Machines  placed  on  trial  with  re- 
sponsible parties. 


JACQUARD  CARD-LACING  MACHINE. 


Nos.  14  to  36  Canal  Street,  PhLiladelphiia,  Pa. 

(Take  red  car  on  Third  Street  to  Frankford  Avenue  and  Canal  Streets.) 


KNOWLES  LOOM  WORKS, 

WORCESTER,  MASS. 

BUILDERS  OF  LOOMS  FOR  ALL  STYLES  OF  WEAVING 

THE  ILLUSTRATION  ON  THIS  PAGE  REPRESENTS  OUR 

HEAVY  WORSTED  LOOM. 

Of  Twenty-five  or  Thirty  Harness  Capacity  4x4  Box,  with  Single  or  Double  Beam,  made  from 
new  and  heavy  patterns  and  fitted  with  every  device  that  experience  has  shown  to  be  practical,  while 
we  have  striven  not  to  overload  it  with  useless  attachments  which  would  be  a  source  of  vexation  or 
expense  by  reason  of  breakage. 


The  Loom  is  built  witli  Entire  New  Driving  Gears,  Friction  pulley  if  desired.  Positive  Box 
Motion,  Heavier  Upright  Shaft  and  Gears,  complete  system  of  Positive  and  Conditional  Take-up 
Motions,  Filling  Stop  Motion,  Equal  Driving  Gears  for  crank  and  bottom  shafts,  and  other  new 
devices  which  combine  to  make  this  the  very  best  loom  in  the  market,  and  one  upon  which  we 
guarantee  to  weave  every  variety  of  fabrics  from  the  simplest  to  the  tnost  intricate  that  can  be  woven 
on  any  loom  in  the  world. 

This  Loom  is  also  arranged  with  Jacquard  for  more  extensive  and  intricate  patterns  in  Fancy 
Worsteds,  etc. 

The  Superiority  of  the  Open  Shed  principle  of  weaving  has  been  fully  established  by  the  success 
of  this  loom,  and  we  are  more  fully  persuaded  than  at  the  first  that  it  is  the  true  theory.  The  ver- 
dict of  the  numerous  manuficturers  who  have  them  in  successful  operation  is  sufficient  guaranty  of 
the  merits  of  the  loom.      (Send,  for  Circialair.) 


KNOWLES  LOOM  WORKS, 

WORCESTER,  MASS. 


THIS  ILLUSTRATION  SHOWS  OUR 

VELVKT  AND  PLUSH  LOOM. 


A  Loom  designed  especially  for  this  class  of  goods,  and  made  with  12,  20  or  30  harness  capacity 
and  with  Single  Box  at  each  end,  or  Double  Stationary  Boxes  at  each  end  designed  to  run  two 
shuttles  at  each  pick,  or  with  two  or  three  pairs  of  Drop  Boxes  at  each  end,  arranged  to  use  two 
shuttles  at  each  pick  and  call  either  pair  as  required  by  the  pattern. 

THE  HARNESS  AND  BOX  MOTION  ARE  THE  SAME  AS  ON  THE  FANCY 
WORSTED  OR  CASSIMERE  LOOM. 

The  goods  are  cut  automatically  in  the  loom.  The  Take-up  Motion  is  positive  and  very  accu- 
rate in  its  operation,  and  the  Let-off  for  Pile  Warp  is  operated  positively  from  the  head  motion, 
and  controls  the  length  of  the  pile  on  the  goods.  Many  of  these  looms  are  in  successful  operation 
on  this  class  of  goods. 


We  desire  most  respectfully  to  call  the  attention  of  Textile  Manufacturers  to  the  various  Looms  built 
by  this  Company  for  all  kinds  of  fabrics,  including 

Worsteds,  Woolens,  Dress  Goods,  Flannels,  Blankets,  Jeans,  Ginghams,  Uphol- 
stery, Draperies,  Shawls,  Ingrain  Carpets,  Silks,  Satins,  Ribbons, 
Suspenders,  Bindings,  Wickings,  Webbings,  etc., 

which  have  within  the  past  years  been  introduced  into  most  of  the  mills  in  the  country,  and  where  they 
have,  by  superior  workmanship  and  perfect  operation,  won  for  themselves  the  reputation  of  being 
the  best  looms  made,  and  established  beyond  question  the  claims  made  for  them  on  their  introduction 
to  the  public  many  years  ago. 

(Correspondence  Solicited). 


ERBEN,  SEARCH  &  CO., 


PhiiladelphLia.,  Pa.. 


FAIRMOUNT  WORSTED  MILLS. 


Mills,  2416  Spring  Garden  Street. 


TACONY  WORSTED  MILLS. 


Mills,  Tacony,  Philadelphia,  Pa. 


Worsted  Yarns  —  Englisln  or  Krench  Systems; 
Also  Woolen,  Mohair,  Merino  and 
Genapped  Yarns. 


Delivered  on  Cops,  Shuttle  Bobbins,  Skeins,  Six-inch 
and  Dresser  Spools,  in  Oil  or  Colors. 


Technology  of  Textile  Design. 


Being  a  Practical  Treatise  on  the  Construction  and 
Application  of  Weaves  for  all  Textile  Fabrics, 
with  minute  reference  to  the  latest 
Inventions  for  Weaving. 


Containing  also 

A.n  Appendix  showing  the  Analysis  and  giving  the  Calculations  necessary 
for  the  Manufacture  of  the  various  Textile  Fabrics. 

—BY— 

E.  A.  POSSELT, 

Consulting  Expert  on  Textile  Designing  and  Manufacturing, 

Professor  of  the  Advanced  Study  in  Textile  Designing  and  Lecturer  on  the  Structure  of  Fibres  and  the  Manufacture  of 
Yarns  and  Fabrics  at  the  Textile  Department  of  the  Pennsylvania  Museum  and  School  of  Industrial  Art,  Phila- 
delphia ;  Author  and  Pulilisher  of  "„TiU"  Structi;re^of  Fibres,  Yarns  and  Fabrics;"  "The 
Jacquard  Machine  Analysed  ^Xnp' Fap^aiije*:)  ;  T.Je  PR'!;pARA''.ioti  of  Jacquard 
Cards,  and  Practical  Hints  to  LEAkNERS  of  jACQt'nRi)  JJpsiGNii^G,'/  Etc.  , 

WITH  OVER  1006  il^LUSTkATldNS. 


FOOHTH  EDlTICfl. 


PHILADELPHIA: 
E.  A.  POSSELT,  Author  and  Publisher, 
2152  N.   i'wenty- first  Street. 


LONDON: 

Sampson  Low,  Marston,  Searle  &  Rivington,  Limited, 
St.  Dunstaii's  House-,  Fetter  Lane,  Fleet  Street. 
1892. 


COPYt^IGHTHED,  1888. 
BY 


lafe  aETTY  CENTER 
.  ..  LIBRARY 


PREFACE  TO  THE  FIRST  EOITION. 


An  experience  of  several  years  as  Principal  of  The  Textile  Department  ot  the 
Pennsylvania  Museum  and  School  of  Industrial  Art,  has  shown  the  author  of  this 
work  the  necessity  and  value  of  a  Text-book  on  Textile  Designing  and  Weaving. 
The  absence  of  any  such  guide  to  the  study  has  induced  him  to  prepare  this  work, 
which  he  trusts  will  be  useful  not  only  to  the  student  as  a  Text-book,  but  also  to  the 
manufacturer  as  a  book  of  reference.  The  results  arrived  at  by  the  completion  of 
this  work,  will  be  greatly  enhanced  in  their  value  to  practical  men,  when  assured 
that  a  life-time  of  actual  service  in  the  mills  of  this  country  and  Europe  has  been 
enjoyed  by  the  author,  and  that  the  ripe  experience  of  such  practical  knowledge 
has  been  closely  interwoven  with  the  results  herein  fully  set  forth. 

The  favor  so  generously  accorded  his  previous  book  entitled  "The  Jacquard 
Machine  Analyzed  and  Explained ;  the  Preparation  of  Jacquard  Cards,  and  Practical 
Hints  to  Learners  of  Jacquard  Designing,"  greatly  encouraged  him  in  the  prepara- 
tion of  this  work,  and  it  is  sent  forth  with  the  earnest  desire  that  it  may  likewise  win 
the  approval  of  the  public  and  aid  in  developing  and  extending  a  deeper  interest  in 
the  subject. 

While  much  indebted  to  his  many  friends  for  their  kindly  hints  and  suggestions, 
he  more  particularly  acknowledges  the  services  of  Mr.  Theodore  C.  Search,  who 
has  been  so  unremitting  in  his  zeal  for  the  advancement  of  the  work,  and  through 
whose  generous  assistance  the  author  has  been  enabled  to  reach  a  more  speedy 
termination  of  his  labors. 

Philadelphia,  Pa.,  November,  1888. 


PREFACE  TO  THE  FOURTH  EOITION. 


The  quick  sale  of  the  first  three  editions  of  this  work,  in  the  short  time  of  only 
three  years,  clearly  demonstrates  the  favor  which  "Technology  of  Textile  Design" 
has  found  amongst  all  interested  in  Textile  industries. 
Philadelphia,  December,  1891. 


/  O  o  S3 


CONTKNTS. 


PAGE. 

Divisions  of  Textile  Fabrics,  According  to  their  Construction, 


Squared  Designing  Paper  for  the  Different  Textile  Fabrics   9 

Foundation  Weaves, 

Tlie  Plain  or  Cotton-Weave   13 

Fancy  Effects  Produced  with  the  Plain  Weave,   14 

Twill  Weaves  fMethod  for  their  Construction),   16 

Combinations  of  Two  or  More  Colors  for  Producing  Figured  Effects  upon  Fabrics  Interlaced  on  Twills,  22 

Satin  Weaves  (Method  for  their  Construction),   25 

Influence  of  the  Twist  of  the  Yarn  upon  Fabrics  Interlaced  with  Satin  Weaves,   29 

Arrangement  for  Commencing  the  Satin  Weaves  for  Special  Fabrics,  such  as  Damask  Table  Covers,  Etc. ,  29 

"Drawing  in  the  Warp  in  its  Harness"  and  the  Preparation  of  Dravving-in  Drafts. 

The  Harness,   31 

Principles  of  a  Drawing-in  Draft,   31 

Different  Divisions  of  Drawing-in  Drafts   32 

Sub-Divisions  of  Fancy  Drawing-in  Drafts,  •  32 

A.  — Broken  Draws,   32 

B.  — Point  Draws,  ,       .      .  33 

C.  — Drawing-in  Drafts  having  a  Section  Arrangement,   34 

D.  — Skip  Draws,  ".   35 

Mixed  or  Cross  Draws,   35 

Specimen  of  a  Complete  Drawing-in  Order,   35 

Drafting  of  Drawing-in  Drafts  from  Weaves,   36 

Rules  for  Estimating  the  Number  of  Heddles  Required  on  Each  Harness,   38 

The  Reed,  and  Reed  Calculations,   39 

Derivative  Weaves  from  the  Plain  or  Cotton  Weave. 

L — Common  Rib-Weaves,   41 

II. — Common  Basket-Weaves,   42 

III.  — Fancy  Rib-Weaves,  '.       .  43 

IV.  — Fancy  Basket-Weaves,   4=; 

V.  — Figured  Rib-Weaves,       .   46 

Effects  Produced  by  Using  Two  or  More  Colors  in  Warp  and  Fil  ing  in  Fabrics  Interlaced 

upon  Rib  and  Basket-Weaves   48 

VI. — Oblique  Rib-Weaves,   50 

Combining  Common,  Rib  and  Oblique  Rib-Weaves,  ,       .  51 


CON  TENTS. — Continued. 


Deri  VATivE  Weaves  from  the  Regular  Twills.  page. 

I.— Broken  Twills,   52 

Using  Two  or  More  Colors  in  Warp  and  Filling  for  Producing  Eflects  in  Fabrics  Interlaced 

with  Broken  Twills   55 

II, — oteep  Twills  or  Diagonals,   56 

III.  — Reclining  Twills,   60 

IV.  — (Curved  Twills   62 

v.— Skip  Twills,   63 

VI — Combination  Steep  Twills,   67 

VII.— Corkscrew  Twills,   68 

VI II. — Entwining  Twills,   75 

IX. — Twills  having  Double  Twill  Effects,   77 

X.  — Twills  Producing  Checker-board  Effects,   78 

XI.  — Fancy  Twill  Weaves,   So 

XII.— Pointed  Twills   81 

Derivative  Weaves  from  Satins. 

Double  Satins,   84 

Granite  Weaves   85 

Granite  Weaves  as  Constructed  by  other  Methods  than  having  Regular  Satins  for  their  Foundaiioii,  .  88 

Combination  of  Different  Systems  of  Weaves  for  One  Design,   90 

Figured  Effects  upon  Fabrics  interlaced  with  Derivative  Weaves  Produced  by  Arrangement  of  Two  or 

More  Colors  in  the  Warp  or  the  Filling,  or  in  Both  at  the  Same  Tinu,   93 

Single  Cloth  Weaves  for  Fabrics  of  a  Special  Construction  and  Peculiar  Chvractek. 

Honeycomb  Weaves,   98 

Imitation  Gauze  Weaves,   102 

Combination  of  Weaves  for  Fabrics  Constructed  with  One  Syste.vi  of  Warp  and  Two 
Systems  of  Filling. 

Combining  Two  Systems  of  Filling  with  One  Kind  of  Warp  for  increasing  the  Bulk  in  a  Fabric,  .  .  105 
Combining  Two  Systems  of  Filling  with  One  Kind  of  Warp  for  Figuring  with  Extra  Filling  upon  the 

Face  of  the  Fabric,   108 

Swivel  Weaving,   109 

Combination  of  the  Swivel  Effect  with  figuring  through  the  Warp,   iii 

Swivel  Loom,   in 

Combination  of  Weaves  for  Fabrics  Constructed  with  Two  Syste.ms  ok  Warp  and  One 
System  of  Filling. 

Two  Systems  of  Warp  and  Ons  System  of  Filling  for  Producing  Double  faced  Fabrics,        .       .      .  1 14 

Using  an  Extra  Warp  for  B.icking  for  Heavy-weight  Worsted  and  Woolen  Fabrics,      .       .       .       •  115 

Figuring  with  an  Extra  Warp  upon  the  Face  of  a  Fabric  Otherwise  Interlaced  with  its  own  Filling,  117 

Lappet  Weaving,   123 

Tricot  Weaves,   126 


CO  NTENTS.— Continued. 


Double  Cloth.  page. 

Description  of  the  Construction  and  tlie  Purposes  for  Making  Double  Cloth  Fabrics,    ....  129 

Rules  for  Designing  Double  Cloth  Weaves,   130 

Double  Cloth  Weaves  having  for  their  Arrangement  One  End  Face  to  Alternate  with  One  End  Back 

in  Warp  and  Filling,   132 

Double  Cloth  Composed  with  Different  Proportions  of  Face  and  Back  Threads   134 

Double  Cloth  Weaving  without  Stitching  both  Fabrics,                                                                .  137 

Double  Cloth  Fabrics  in  which  the  Design  is  Produced  by  the  Stitching  Visible  upon  the  Face  of  the 

Fabric,   138 

Rib  Fabrics,   142 

Three-Ply  Fabrics,   146 

Four  and  Five-Ply  Fabrics,  >       .  147 

Pile  Fabrics. 

Pile  Fabrics  Produced  by  Filling. 

Velveteens,  Fustians,  Corduroys,   149 

Chinchillas,  Whitneys,   152 

Chenille  as  Used  in  the  Manufacture  of  Rugs,  Curtains,  etc.,   153 

Chenille  Cuttmg  Machine,   15S 

Chenille  as  Produced  in  the  Manufacture  of  Fringes,   160 

Pile  Fabrics  in  Which  tlie  Pile  is  Produced  by  a  Separate  Warp  in  Addition  to  the  Ground  Warp. 

Structure  of  Warp  Pile  Fabrics,   166 

Terry  and  Velvet  Pile,   166 

Method  of  Operation  in  Producing  Warp  Pile  Fabrics,   167 

Velvet  and  Plush  Fabrics,   160 

Figured  Velvet                                                                                                                    .  171 

Astrakhans,   173 

Machines  for  Curling  Warp-tlireads  for  Astrakhans,   180 

Tapestry  Carpet   185 

Brussels  Carpet,   188 

Double  Faced  Pile  Carpits,  '   193 

Double  Pile  Fabrics,   194 

Terry  Pile  Fabrics,       .   216 

Pile  Fabrics  of  a  Special  Method  of  Construction,   221 

Two-Ply  Ingrain  Carpet,      .   225 

Gauze  Fabrics. 

Principle  of  Their  Construction,   228 

Combination  of  Ordinary  and  Gauze  Weaving,   231 

Gauze  Weaving  Mechanism  for  Open-Shed  Looms   237 

Jacquard  Gauze,   240 

Cross  Weaving  for  Chenille  Fabrics   244 

Cross  Weaving  as  Used  for  the  Manufacture  of  Filtering  Bags,   246 

Cross  Weaving  as  Used  for  Producing  Fast  Centre  Selvages,   247 

The  Jacquaru  Machine,      .   250 

Modification  of  the  Single-Lift  Jacquard  Machine,   252 

Card  Stamping,                                                   .       .       .    '   25^ 

The  Jacquard  Harness,   253 

The  Comber-board  and  Methods  of  Figuring  for  it,   254 

Gobelin  Tapestry,   256 


CONTENTS.— Continued. 


APPENDIX. 


Analysis  of  the  Various  Textile  Fabrics  and  Calculations  Necessary  for  Their  Manufac- 
ture. 

I. — Ascertaining  the  Weight  Per  Yard  of  the  Finished  Fabric,  and  its  Finished  Texture,        .       .  257 

II. — Ascertaining  the  Weave,   259 

III.  — Ascertaining  Raw  Materials  Used  in  the  Construction  of  a  Fabric,   261 

IV.  — Ascertaining  the  Texture  for  Fabrics  as  Required  in  Loom,   263 

V.  — Ascertaining  the  Arrangement  of  Threads  in  a  Sample,  According  to  Their  Color  and  Their 

Counts,  for  the  Warp  and  Filling,   264 

VI.— Ascertaining  the  Size  of  the  Yarns  (their  counts)  Found  in  Sample,  and  the  Amount  and 

Direction  of  Twist   264 

VII. — Ascertaining  the  Weight  of  Cloth  Per  Yard  from  Loom,   265 

VIII. — Ascertaining  the  Process  of  Finishing  Necessary  and  the  Amount  of  Shrinkage  of  the  Fabric,  .  268 

Grading  of  the  Various  Yarns  Used  in  the  Manufacture  of  Textile  Fabrics  According  to 
Counts. 

I. — Cotton  Yarns,   269 

n. — Woolen  Yarns,  "  Run  System,"   270 

III.  — Woolen  Yarns,  "  Cut  System,"   271 

IV.  — Worsted  Yarns,   272 

v.— Silk   273 

Rules  for  Finding  the  Equivalent  Counts  of  a  Given  Thread  in  Another  System. 

A. — Co: ton,  Woolen  and  Worsted  Yarn,   274 

B^. — Spun  Silk  Compared  to  Cotton,  Woolen  or  Worsted  Yarn,  275 

B^. — Raw  Silk  Compared  to  Spun  Silk,  Cotton,  Woolen  or  Worsted  Yarn,   275 

Tables  of  Relative  Lengths 

Of  Cotton  Yarn  by  Numbers  and  Woolen  Yarn  by  Runs,        .      .      .      .     '   276 

Of  Cotton  Yarn  by  Numbers  and  Woolen  Yarn  by  Cuts,   276 

Of  Cotton  Yarn  by  Numbers  and  Worsted  Yarn  by  Numbers,   276 

Of  Woolen  Yarn  by  Runs  and  Cotton  Yarn  by  Numbers,  •      .      .  277 

Of  Woolen  Yam  by  Runs  and  Woolen  Yarn  by  Cuts,   278 

Of  Woolen  Yarn  by  Runs  and  Worsted  Yarn  by  Numbers,   278 

Of  Woolen  Yarn  by  Cuts  and  Cotton  Yarn  by  Numbers,   279 

Of  Woolen  Yarn  by  Cuts  and  Woolen  Yarn  by  Runs,      .       .       •   279 

Of  Woolen  Yarn  by  Cuts  and  Worsted  Yarn  by  Numbers,  •      .      .  280 

Of  Worsted  Yarn  by  Numbers  and  Cotton  Yarn  by  Numbers   281 

Of  Worsted  Yarn  by  Numbers  and  Woolen  Yarn  by  Runs   282 

Of  Worsted  Yarn  by  Numbers  and  Woolen  Yarn  by  Cuts,   282 

Miscellaneous  Yarn  Calculations,   283 

Tables  of  Relative  Measures  for  Length,  Weight  and  Capacity  Between  the  Metric 

Denominations  and  Those  Used  in  the  United  States,   285 

Index  and  Glossary,   287 


Divisions  of  Textile  Fabrics  According  to  Their  Construction. 


Every  fabric,  commonly  classified  as  "woven,"  is  composed  of  two  distinct  systems  of 
threads  (warp  and  filling)  which  interlace  with  each  other  at  right  angles.  The  arrangement 
of  this  interlacing  is  technically  known  as  the  "  weave."  All  woven  fabrics,  as  to  their  general 
principle  of  construction,  can  be  graded  in  two  great  divisions  : 

Fabrics  in  which  one  system  of  parallel  threads  is  interlaced  at  right  angles  with  a  second 
system  of  parallel  threads.    (For  illustration  see  diagram.  Fig.  I.) 

Fabrics  in  which  threads  of  one  of  the  before-mentioned  two  systems  of  threads,  the  warp, 
in  addition  to  the  interlacing,  are-  twisted  with  threads  of  its  own  .system.  (For  illustration  see 
diagram,  Fig.  2.) 


Fig.  I. 


Fig.  II. 


The  first  mentioned  system  of  fabrics  is  divided  into  the  following  sub-divisions : 
Single  cloth,  double  cloth,  and  three  or  more  ply  cloth,  pile  fabrics. 

Before  commencing  with  the  construction  of  the  weaves,  as  required  for  the  various  textile 
fabrics,  it  is  necessary  to  give  an  explanation  of  the  purpose  and  use  of  the 

Squared  Designing  Paper  for  the  Different  Textile  Fabrics, 

and  its  relation  for  indicating  the  method  of  interlacing  warp  and  filling. 

In  this  n  designing  paper  each  distance  between  two  lines,  taken  in  vertical  direction, 
represents  one  warp-thread,  see  Fig.  3;  and  each  distance  between  two  lines,  taken  in  a  horizontal 
direction,  represents  one  filling-thread,  see  Fig.  4, 

1st    2d    3d    4th  Warp-thread. 


4th  Filling. 

3d  " 
2d 

1st 


Fig.  4. 


Fig.  3. 


(9) 


10 


1st    2d  4th  Warp-thread. 


It  will  readily  be  seen  by  the  student 
that  the  different  small  rectangles  illus- 
trate the  place  where  a  certain  warp- 
thread  meets  with  a  certain  filling- 
thread.  Thus  in  our  illustration,  Fig.  5, 
the  rectangle  marked  a  will  indicate  the 
meeting  of  warp-thread  i  and  filling  r. 
Rectangle  marked  d  will  indicate  the 
meeting  of  warp-thread  2  and  filling  i. 
Rectangle  marked  c  will  indicate  the 
meeting  of  warp-thread  3  and  filling  i. 
Rectangle  marked  d  will  indicate  the 
meeting  of  warp-thread  4  and  filling  i. 
Rectangle  marked  e  will  indicate  the  meeting  of  warp-thread  i  and  filling  2 


1 

Fig.  5. 

n 

0 

P 

}' 

4th  Filling 

i 

k 

I 

in 

3d 

e 

f 

g 

h 

2d 

a 

b 

c 

d 

1st 

/ 

g 
h 

i 
k 
I 

m 
n 
0 

P 
r 


3 
4 
I 

2 

3 
4 
I 
2 

3 
4 


The  classifying  of  the  □  designing  paper  is  done  by  enclosing  a  number  of  small  r 


ectangles, 


horizontal  and  vertical,  within  a  certain  distance  by  a  heavy  line.  Such  enclosures  are  known 
in  practice  as  "squares." 

In  mentioning  a  certain  kind  of  n  designing  paper,  the  warp  dimension  is  indicated  first, 
and  a  design  paper  having  eight  rectangles  vertical,  with  eight  horizontal,  is  variously  read  and 
indicated  as  8  by  8,  8  x  8  or  ^/g;  a  design  paper  having  eight  rectangles  vertical,  with  ten  hori- 
zontal, is  read  and  indicated  as  8  by  10,  8  x  10  or  ^/lo-  Diagrams  Fig.  6  represent  some  styles 
of  n  designing  paper  frequently  used.  The  size  of  the  square  may  vary  in  each  kind  of  paper, 
and  must  be  selected  according  to  the  fabric.  For  example,  there  are  two  different  styles  of 
8  X  8  n  designing  paper  illustrated:  one  forming  }4  inch  heavy  squares  and  one  forming  ^  inch 
heavy  squares.  These  sizes  may  still  be  varied.  The  principle  of  these  two  kinds  of  n  designing 
paper  is  identical,  the  size  preferred  being  left  to  the  pleasure  of  the  designer.  Certainly  it  will 
be  understood  by  any  student  that  in  preparing  a  design  or  weave  with  a  large  number  of 
threads  for  repeat,  it  will  be  advantageous  to  use  a  design  paper  containing  the  smallest  sized 
rectangles  practical  to  use. 


Practical  Use  of  the  Heavy  Square  in  Designing  Paper. 

The  heavy  square  serves  as  a  unit  of  measurement,  as  well  as  a  means  of  calculation,  and 
shows  readily  and  exactly  the  size  of  the  weave  or  design.  The  eye  becomes  accustomed  to 
grasping  the  meaning  of  this  large  square,  and  comprehends  at  a  glance  the  situation.  For 
instance : 


11 


6x6  ^x8  6xJ2 


6x3 


6k7  4x  J2  9k jo 


6x 9  4x24  J0xJ2 


JxJ6 

Fig.  6. 


12 


On  8x8  paper  3  squares  mean  3x8,  or  24  rectangles  each  way;  on  10  x  lo  paper  3 
squares  mean  3  x  10,  or  30  rectangles  each  way,  etc. 

In  designing  for  regular  harness  work  we  generally  use  d  designing  paper  containing  the  ( 
same  number  of  rectangles  each  way;  thus  even  paper,  as  8  x  8,  10  x  10,  12x12,  etc.,  withoi  • 
taking  into  consideration  the  texture  the  fabric  is  constructed  by.   On  the  other  hand  the  entire 
variety  as  shown  are  used,  and  accordingly  selected  from  for  the  designing  of  textile  fabrics 
requiring  the  Jacquard  machine  for  their  construction.    For  such  fabrics  we  give  a  rule  for 

Selection  of  Designing  Paper. 

The  proper  character  01  the  designing  paper  is  ascertained  by  the  number  of  warp  and  filling 
threads  required  per  inch  in  the  finished  fabric.  For  example :  a  fabric  with  a  texture  when 
finished  of  ^  /  no  (80  ends  warp  and  120  picks  per  inch)  will  require  a  designing  paper  of  corres- 
ponding proportion,  or  as  80  is  to  I20,=8  x  12. 

Diagram  Fig.  5,  and  its  previously  given  explanations,  clearly  illustrated  the  object  of  the 
small  rectangles,  /.  e.,  the  places  of  meeting  for  certain  warp  and  filling  threads.  Two  ways  for 
interlacing  of  warp  and  filling  in  a  fabric  are  possible:  either  we  raise  the  warp-thread,  thus  allowing 
the  filling  to  go  under  it,  or  lower  the  warp-thread  and  allowing  the  filling  to  cover  it.  In  the  first 
case  the  warp  will  be  visible,  prominent  on  the  face  of  the  fabric ;  in  the  other,  the  filling. 
Through  this  exchanging  of  warp  and  filling  as  visible  on  the  face  of  the  fabric,  technically  known 
as  "  Raisers  or  Sinkers,"  we  form  the  interlacing  of  both  systems  of  threads,  known  as  "  the 
Weave." 

Rule:  Indications  of  any  kind  in  a  certain  rectangle  inside  the  repeat  of  the  weave 
upon  the  designing  paper  mean  "  warp  up  "  in  its  corresponding  place  in  the  fabric.  Rectangles 
left  empty  inside  the  repeat  of  the  weave  upon  the  designing  paper  mean  "filling  up"  in  its 
corresponding  position  in  the  fabric. 

Figs.  7,  8  and  9  are  designed  for  illustration  of  the  preceding  rule  and  explanations. 


A.  B.  A.  B.  A.  B. 

Fig.  7.  Fig.  8.  Fig.  9. 


Fig.  7  shows  under  A  the  enlargement  of  a  warp-thread  taken  from  a  regular  designing 
paper,  and  containing  in  its  repeat  12  picks  in  rotation.  A  careful  examination  of  the  diagram, 
and  commencing  to  read  from  the  bottom,  illustrates  the  warp-thread  alternately  down  and  up; 
also  at  B  the  reproduction  of  the  warp-thread  and  necessary  picks  from  a  fabric. 


13 


Fig.  8  illustrates  the  design  and  working  of  a  similar  warp-thread  with  the  same  number  of 
picks  in  repeat,  but  with  the  arrangement : 

One  up  two  down,  four  times  repeated=twelve  picks. 
Fig.  9  illustrates  the  design  and  working  of  a  similar  warp-thread  as  used  before  with  the 
same  number  of  picks  in  repeat,  but  interlacing  with  the  arrangement: 

Two  up  two  down,  three  times  repeated. 
The  interlacing  of  both  systems  of  threads,  or,  in  other  words,  the  different  weaves  are 
generally  divided  into  3  distinct  main  divisions  (Foundation  weaves) : 
The  Plain, 
The  Twills, 

The  Satins ;  forming  the  foundation  of  all  the  other  sub-divisions  of  weaves  classified  as 
"derivative  weaves."  New  weaves  are  also  formed  b)'  the  combination  of  weaves  from  the 
various  sub-divisions,  etc.,  thus  forming  a  field  impossible  to  cover  in  detail  as  respects  each 
particular  weave  or  special  fabric ;  but  we  will,  however,  by  means  of  our  future  lectures,  impart 
the  principles  for  their  construction,  thus  giving  the  student  sufficient  knowledge  to  master  any 
and  every  combination  required. 
W. 

Foundation  Weaves. 

I.    THE  PLAIN  OR  COTTON-WEAVE. 

Fig.  10  represents  a  fabric  constructed  with  the  weave  techni- 
cally known  as  "  the  plain'"  or  "  the  cotton-weave."  In  this  diagram 
two  distinct  sets  of  threads,  crossing  each  other  at  right  angles 
and  interlacing  alternately,  are  visible.  The  threads  running 
longitudinally  (marked  W),  or  lengthwa}'s  in  the  fabric,  are  the 
warp-threads ;  the  traverse  threads  are  the  filling  (indicated  by 
Fig.  10.  F  in  diagram.) 

Fig.  II  shows  the  design  or  pattern,  executed  correspondingly 
to  fabric  sample.  Fig.  10.    The  shaded 
squares  indicating  warp  up ;  the  empty 

squares  representing  filling  up.  ^'^^^^^^^^^^^^^^S  ^' 

Fig.  12  is  the  section-cut  of  a  fabric  ^•^^'»<i^^^^i^^^"vii^^l  2. 
woven  on  "  plain "  weave,  showing  one 
Fig.  II.  warp-thread  light  (l),  the  other  shaded  (2).  Fig.  12. 

The  filling  is  represented  in  full  black. 
An  examination  of  Fig.  10  will  convince  the  student  that  this  weave  produces  a  very  firm 
interlacing  of  the  two  systems  of  threads  employed,  in  fact  it  is  the  most  frequent  exchanging 
of  warp  and  filling  possible.     The  fabric  produced  with  this  weave  will  be  strong,  as  each 
thread,  by  reason  of  the  interlacing,  supports  the  others  to  the  utmost. 

This  frequent  exchanging  of  warp  and  filling  in  the  "plain"  weave  will  also  produce  a  fabric 
more  or  less  perforated.  These  perforations  are  regulated  by  the  size  of  the  threads  used  in  the 
construction  of  a  fabric,  and  by  the  twist  employed  in  the  manufacture  of  the  yarns. 

Rule  :  ist.  The  thicker  in  size  the  threads  are,  as  used  in  the  construction  of  the  fabric, 
the  larger  the  perforations  will  be. 

2d.  Soft  twisted  threads  reduce  the  perforations  to  a  lower  point  than  hard  twisted  threads 
of  equal  size  and  direction  of  twist. 

jd.  The  perforation  will  again  be  reduced  by  employing  a  twist  for  warp  and  filling,  which, 
when  both  are  interlaced,  runs  in  the  same  direction. 


14 


I 

i 


Fig.  13.     Fig.  14. 


of  colors. 


To  illustrate  this  last  rule  Figs.  13,  14,  15  and  16  are  constructed. 

Fig.  13  represents  a  thread  twisted  from  the  right  towards  the  left,  which 
is  called  technically    left''  twist. 

Fig.  14  shows  us  a  thread  twisted  in  the  opposite  direction,  or  from  the 
left  towards  the  right,  which  in  turn  is  classified  as  ''right"  twist. 

Fig.  15  illustrates  a  fabric,  woven  on  '■'plain"  in  which  the  direction  of 
the  twist  is  opposite  in  warp  and  filling  when  interlaced,  thus  larger  perfora- 
tions will  appear  than  in  Fig.  16  which  illustrates  the  same  fabric,  but  having, 
when  interlaced,  the  same  direction  of  twist  in  both  systems  of  threads. 

The  plain  weave  is  very  extensively  used  in  the  manufacture  of  fabrics 
composed  of  all  kinds  of  materials,  as  cotton,  wool,  worsted,  silk,  hair,  wire, 
glass,  etc. 

Fancy  Effects  Produced  %i.<ith  the  Plain  Weave. 

The  first  move  towards  figuring  a  fabric  constructed  with  the  plain  weave 
is  made  by  varying  the  thickness  of  the  threads  in  the  warp  or  filling,  or  in 
both  systems  at  the  same  time;  for  example,  in  "  repp"  cloths  as  used  for  ladies' 
dress  goods,  and  also  for  decorative  purposes.    In  these  fabrics  either  one  kind 
of  warp  and  two  kinds  of  filling  (one  pick  heavy,  one  pick  light)  or  two  kinds  of 
warp  (one  thread  heavy  to  alternate  with  one  thread  light)  and  the  before  men- 
tioned two  kinds  of  filling  are  used. 

These  changes  of  heavy  and  light  threads  are  also  used  for  forming  borders, 
as  observed  in  some  cambric  handkerchiefs  or  similar  fabrics.  Fig.  17  is  given  to 
illustrate  one  corner  of  such  a  fabric. 

Another  step  towards  figuring  in  plain  weaving  is  made  by  the  arrangement 


15 


Weave 

of 
Warp. 

Sop 
p  -»  p 
a  ^  m 
b  cr  a> 

Effect. 

a 

Diagram  for  explain- 
ing figs.  18, 19, 20,  21, 

■□■□□□anooannaaa 
"■L  .B    a      a  c. 


Di.  _ 


These  effects  are  used  to  a  large  extent  in  the  manufacture  of  ginghams,  ladies'  all-wool  dress 
goods,  as  well  as  in  the  lightest  qualities  of  fancy  cassimeres.  It  will  be  easily  understood  by  any 
student  that  a  fancy  color  arrangement  (dressing)  of  the  warp  will,  in  connection  with  one-color 
filling,  produce  corresponding  stripes;  therefore  we  will  devote  the  attention  at  once  towards  the 
fancy  color  arrangement  for  warp  and  liUing. 

Among  the  simpler  effects  may  be  found  what  is  technically  known  as  a  "  hair-line"  effect,  and 
is  derived  through  an  alternate  arrangement  of  i  end  light,  I  end  dark  in  warp  and  filling.  Each 
filling  must  cover  its  own  color.  Therefore  when  the  shed  of  the  warp  is  formed  by  the  dark  set 
of  threads  up,  the  light  set  of  threads  down,  the  light-colored  filling  must  be  interwoven.  Again, 
if  the  dark  set  of  threads  are  down  and  the  light  set  of  threads  up,  the  dark-colored  filling  has 
to  be  thrown  through  the  shed. 

Arrangement         pjg  jg  iUustratcs  the  cffcct  as  produccd  by  this  arrange- 
ment.   If  the  interweaving  of  the  filling,  as  explained  in  fig.  i8, 
is  changed  to  the  other  pick,  we  get  the  stripe  effect  across  the 
fabric  or  in  the  direction  of  the  filling.    This  effect,  known  as 
"  imitation  tricot,"  is  illustrated  in  Fig.  19.    By  combining, 
alternately  for  certain  spaces,  the  hair-line  effect  with  the  tricot 
effect,  "  checkerboard"  effects  are  obtained.    It  will  be  readily 
seen,  that  the  regular  arrangement  of  repeating  i  light,  i  dark, 
will  produce  either  one  of  the  before-mentioned  styles.    Therefore,  by  allowing,  in  a  distance 
of  a  certain  numiber  of  ends  (according  to  the  size  of  ■ 
the  effect),  2  ends  from  one  color  to  be  used,  we  will  _■ 
change  from  one  effect  to  the  other. 

Fig.  20  illustrates  one  of  the  many  styles  possible  I 
to  be  derived.    There  are  9  ends  of  warp  and  filling  ! 
j::dddai    for  each  effect,  therefore  18  ends  for  the  repeat.  | 
Figs.  21,  22,  23  and  24  illustrate  a  few  more  of  the  [ 
many  different  effects  which  may  be  obtained.    The  I 
principle  observed  in  exchanging  the  two  main  or 
foundation  effects  (hair-line  and  tricot)  is  left  undisturbed. 

In  Fig.  21  the  arrangement  of  warp  and  filling  is  2  ends  light,  1  end  dark,  forming  the 
broken-up  "  effect. 

Fig.  22  is  constructed  of  2  ends  light,  2  ends  dark,  in  the  repeat  of  its  color  arrangement, 
and  forms  a  "star"  effect. 


□ 

::  ia 
[J,  la 


22,  23  and  24. 


Fig.  i8. 


mrmn 
CM  m 
m  m 
cm  m 

c- 

D> 

l: 

1 

L 

L' 

Fig.  19. 


'7. — '7r7^  "77'".PP 

 ^  !?— 

J:  ia 

c;  ii 

""I  ^  m 

::  m 
:\   

I:  Z'ZZZZ'Z.'.Z.u 


Fig.  20. 


■  ■ 

■ 

■ 

r 

[ 

1 

[ 

una 

□■a 

□ 

'"1. 1 
aaa 

aa 


:■  ■ 

:  i~ 

1 

.  la 

::a3 

r-ia 

'jaa 

:  i 

aaa 

:  i 

i!:ia 

;:3 

:;aa 

1 

JL. 

.53 

Fk 


Fig.  23  is  constructed  as  follows: 

Arrangement  of  warp. 


Fig.  22. 

1  end  light, 

2  ends  dark. 


Fig. 


3  ends  in  the  repeat. 
Arrangement  of  the  filling :    i  pick  light, 
to  alternate  with    i  pick  dark, 

2  picks  in  the  repeat. 


16 


Fig.  24  is  constructed  as  follows : 
Arrangement  of  the  warp, 


2  ends  light, 


□HQ- 
□■■L 


Fiu.  24. 


2  ends  dark, 

4  ends  in  the  repeat. 
Arrangement  of  the  filling :    i  pick  light, 
to  alternate  with  i  pick  dark. 


2  picks  in  the  repeat. 

Similar  effects  upon  the  plain  weave,  as  illustrated  in  Figs.  18  to  24  inclusive,  can  also  be 
arranged  for  3  to  4,  or  more  colors  in  warp  or  filling,  or  for  both  systems  combined,  for  producing 
one  effect. 

II.  TWILLS. 

In  twill  weaves  (or  tweel  from  the  French  tuaillc)  the  warp  and  filling  threads  do  not  inter- 
lace alternately  as  in  the  plain  weave,  but  only  the  third,  fourth,  fifth,  etc.,  thread  is  used. 
The  peculiarity  of  the  twill  weaves  consists  in  having  every  successive  pick  interlace  correspond- 
ingly with  its  successive  warp-thread,  thus ;  If  the  first  pick  ties  in  the  first  warp-thread,  the 
second  pick  must  interlace  in  the  second  warp-thread,  the  third  pick  must  interlace  in  the  third 
warp-thread,  etc.  Continuing  to  design  in  this  manner  until  all  the  harness  required  to  be 
used  are  taken  up  will  give  us  the  "  repeatr  This  manner  of  interlacing  warp  and  filling  will 
produce  a  distinct  pattern  upon  the  cloth,  /.  e.,  lines  running  in  a  diagonal  direction  across  it. 

Comparing  the  twill  weaves  with  the  plain  weave  in  respect  to  thickness  of  the  cloth  to  be 
produced,  will  show  that  the  twill  weaves  permit  of  the  introduction  of  more  material  into  the 
fabric,  thus  making  it  closer  in  its  structure  than  the  plain  weave.  The  reason  for  it  is  found  in 
the  fact  that  in  twill  weaves  the  warp  and  filling  interlace  only  at  intervals  of  two,  three  or  more 
threads,  thus  permitting  the  warp  and  the  filling  to  lie  closer  together. 

We  mentioned  before  that  the  twill  weaves  form  diagonal  lines  on  the  cloth.  These  lines 
can  be  arranged  to  run  from  the  left  to  the  right  or  from  the  right  towards  the  left.  It  will  be 
the  clearest  visible  to  the  eye  in  the  fabric  by  using  the  twill  in  the  weave  the  same  direction  of 
twist  the  warp-thread  has. 

Twills  commence  with  the  3-harness,  and  can  after  this  be  made  on  any  number  of  harness. 

Various  methods  are  in  practical  use  in  classifying  common  twills.  The  most  proper  course 
will  be  to  divide  the  general  system  into  two  divisions : 

A.  Uneven-sided  twills,  or  twill  weaves  in  which  more  or  less  warp-up  indications  appear  on 
the  design,  compared  with  filling-up  indications,  or  the  amount  of  indications  balance  but  the 
general  arrangement  is  different  in  one  compared  with  the  other.  For  example:  ^  3 '  1  —  f »  but 
differently  arranged  for  each  side.  (For  indicating  this  division  of  twills  the  letter  u  is  used 
throughout  the  chapter.) 

B.  Even-sided  twills,  or  twill  weaves  in  which  the  amount  and  arrangement  of  warp  up  and 
filling  up  is  completely  balanced.  (For  indicating  this  division  of  twills  the  letter  e  is  used 
throughout  the  chapter.) 


■■naan 

■□■■DM 

1  3 

Fig.  25. 


3-harness  twill. 


n. 


Warp  for  face. 


nannan 
snnannM 

lannann 

1  3 

Fig.  26. 


3-harness  twill. 


Filling  for  face. 


Commencing  the  designing  of  twills  on  j-harness,  we  find  one  twill  possible  to  be  made 
upon  it,  which  is  the  u  twill :  i  down  2  up  or  i  up  2  down ;  also  technically  represented  with 
warp  face  1  filling  face  7,,  and  weaves  shown  in  Fig.  25  and  Fig.  26. 


17 


Fig.  27  illustrates  the  plan  of  the  fabric  obtained  with  weave  Fig.  26. 

Fig.  28  represents  the  longitudinal  section  cut  of  fabric  shown  in  Fig.  27.  Numbers 
as  used  on  weave,  fabric  and  section  cut  are  selected  correspondingly.  A  in  section  cut  indicates 
warp-thread  No.  i  in  plan. 


Fig.  28. 


Fig.  27. 

^-Harness  Twills. — Examining  four,  we  find  2  kinds  of  twills  possible  to  be  obtained:  1  down 
3  up  («),  or  I  up  3  down  {u),  and  2  up  2  down  {e),  this  being  the  first  even-sided  twill  obtained. 


■■■□■■■n 

4aaanaaaa 
aaaaaaaa 
anaaanaa 

inaaanaaa 

1  4 

Fig.  29. 
4-harness  twill. 
_3 
I 

Warp  for  face. 


71. 


nnnannna 
□nannnan 
nannnang 
ananaann 

4nnnBnnnB 
nnannnan 
□annnann 

lannnannn 
1  4 

Fig.  29a. 

4-harness  twill. 
I 

  21. 

3 

Filling'  for  face. 


gnaanaaa 
Baannaan 
aaanaann 
annaanna 
4nnaannaa 
□aannaan 
aannaana 
lanaaanna 
1  4 

Fig.  30. 
4-harness  twill. 
2 


Warp  and  filling  equal. 


Fig.  32. 


No.  1. 


Fig.  31  illustrates  the  fabric  obtained  with  weave  Fig.  30. 

Fig.  32  represents  the  longitudinal  section  cut  of  fabric  shown  in  Fig.  31.    A  =  warp-thread 


^-Harness  Twills. — In  five-harness  we  find  three  difierent  kinds  of  twills,  as  follows : 
Warp  Face.  Filling  Face. 

I  down  4  up  {u),  or  i  up  4  down  {u). 

3  up  2  down  {u),  "  3  down  2  up  (?/). 

I  down  I  up,  I  down  2  up  {u),     "  i  up  I  down,  i  up  2  down  (k). 


18 


saaaHaaaaan 
aaanaaaana 
aanaaaanaa 
anaaaanaaa 

inaaaanaaaB 

1  5 

Fig.  33. 


5 -harness  twill. 
4 


u. 


aannaaanna 
aDDaaannaa 
ndaaannaaa 
□aaannaaan 
aaannaaann 
5BanDaaBDDa 
annaaBDnaa 
nnBaanaaaa 
DaaanDBBan 
laaannaaaDti 
1  5 

Fig.  35. 


5 -harness  twill. 

3 


anaauBnaan 
naanaDflBDa 
aananaaDan 
anaDBBDana 
DBnaaDflDBB 
sanaanaDBfln 

DaaDBDflBDB 

aananaanan 
anaDBBDana 
iDBnaanaDaa 

1  5 

Fig.  37. 


5-harness  twill. 

I  2 

  V. 

I  I 


□mnangnina 
nnnannnnan 
nnannnnanS 
nannnnannH 
anannaanDD 
snDnnananDa 
pnDBnnanaa 

DDBDnnDBDn 

naaDDnaann 
lamnnannnn 

1  s 

Fig.  34. 


5-harness  twill. 
I 


maannDaan 
naannnBann 
aannnaannn 
annoaannna 
nnnaannDBB 
smBannnaag 
□aaannaann 
aanDDBBDnn 
anDDaanDDB 
inanaannnaa 
1  5 

Fig.  36. 


5-harness  twill. 
2 

—  11. 
3 


namaaanDB 
aDDBDanDan 
nDBnanDana 
naaaDDanan 
anaDDBDann 
snannananna 
anDBDannaa 
nnanannana 
nanaanaDan 
iBnaananann 
1  5 


Fiq.  38. 


5-harness  twill. 
I  I 

■   u. 

I  2 


6-Harness  Tivills. — On  six-harness  five  different  twills  are  found  : 


Filling  Face. 

1  up  5  down 

2  up  4  down  («), 

I  up  I  down,  I  up  3  down  (//), 


or 


Warp  Face. 

1  down  5  up 

2  down  4  up  («). 

I  down  I  up,  I  down  3  up 


□nnnaannnnna 
nnnnannnnnan 
nnnanunDDann 
nnannnnnanDn 
nannnnnannnn 
amanDBDnann 
ennnnnannnnna 
nnnnannnnnan 
nnnannnnnann 
nnannnnnannn 
nannnnnannnn 
lannnnnannnnn 

1  6 

Fig.  39. 


Warp  and  Filling  equal. 
3  up  3  down  {e). 
2  up  I  down,  I  up  2  down  (1?). 


6-harness 
I 


twill. 


u. 


aaaBanaaaBBn 

aBBBUBBBBBna 
BBaDBBBBBnaB 

BBDaBBBBnaaa 
BnaaBBBaflBBB 
nBBBaanaBaaa 
eaaaBaDBBBBan 
BBBanBaaaana 

BBBDBBBaBDaa 

BBUBBBBanaaa 
anBaBaanaaaa 
inaaaaanaaBBa 


Fig.  40. 


6-harness  twill. 
I 


u. 


Hnnanaannnna 
nnnDBBnnnnaa 
nnnaannnDaan 
nnaannnnaanu 
naannnnaannn 
aannnnaannnn 
eannnnaaonnna 
nnnnaannnnaa 
nnnaaannnaan 
nnaannnnaaun 
naaannaaanDn 
laannnnaannnu 

1  G 

Fig.  41. 


6-harness  twill. 
2 

■ —  u. 


naaaannaaaan 
aaaannaaaann 
aaannaaaanna 
aannaaaannaa 
annaaaaanaaa 
nnaaaannaaaa 
eDaaaannaaBBn 

SBBannaaaann 
BannaBBaDDB 
annaaaanDBB 
BDDaaaanDBBB 
innaBBBnnaBBB. 

1  6 

Fig.  42. 


6-harness  twill. 
2 


u. 


nannnanannnH 
a~r  — B-B   ! 

nn:  :b-  ^b-  "t  -b-  -a 
uum  :■:  :■'  i 
DB'  :■:  i;  1  -Mvm: :  1 
BDBLJijnBrjBncn 
enaunDBDannDB 
anDDBnannnan 
nDnananDnana 
naaDannnanan 
naaannDBDann 
lanannnanannn 

1  6 


Fig.  43. 


6-harness  twill. 
I  I 

 u. 


aDaaananaBBd 
naaaDaDBBBDa 
aaanaDBBBDan 
BanBaaBanBDB 

BDaDBBBDBDaa 

nanaaananaaa 
eanaaanBDBBan 
DBBanBDaaBDB 
BaananaaBnan 
aBnaDBBBDaDB 

BDBDBBBDBnBB 

mBnaaananaBB 

1  fi 

Fig.  44 


6-harness  twill. 
I  3 


1 


19 


■■nnnBBMannB 
■nnnBBBannBB 

DDaaannnHiBn 
Baaannnaaann 
aaaunnaaannn 
saannnaaannna 
annnaaannnaa 
nnnaaaannaaa 
nnaaanncaaan 
□aaannnaaaLjn 
laaannuaaannu 


Fig.  45. 


6-harness  twill. 
3 


■nannaananna 
nannaanannaa 
annaanannaan 
nnaacannaana 
Daanannaanan 
aanannaanann 

sanannaananna 
paDnaanannaa 
Bnnaanannaan 
nnaa-annaana 
naanannaanan 

laauannaanann 

1  6 


Fig.  46. 


6-harness  twill. 
2  I 


I  2 


y-Harness  Twills. — On  7-harness  eight  dififerent  kinds  of  twills  are  found,  all  uneven-sided. 


Filling  Face. 


Warp  Face. 


I 

up  6  down 

or 

I  down  6  up, 

2 

up  5  down 

2  down  5  up, 

3 

up  4  down 

u 

3  down  4  up, 

I 

up  I  down 

I 

up  4  down 

II 

I  down  I  up  I 

down 

4  up, 

2 

up  I  down 

I 

up  3  down 

11 

2  down  I  up  I 

down 

3  up. 

2 

up  2  down 

I 

up  2  down 

11 

2  down  2  up  I 

down 

2  up, 

I 

up  3  down 

I 

up  2  down 

11 

I  down  3  up  I 

down 

2  up, 

I 

up  I  down 

I 

up  I  down  I  up  2  down 

<< 

I  down  I  up  I 

down 

I  up  I  down  2  up 

Filliyig  for  Face. 

nnnnnnannnnnna 
nnnnnamnnnnan 
nnnnannnnnnann 
nnnannnnnnannn 
nnanannnnannnn 
aannmnnannnm 
annnnnnannnnnn 

Tgnnnncannnnnna 
Bnnnnannnnnnaa 
nnnnannnnnnann 
nnnannnnnnannn 
nnannnnnnannnn 
nannnnnnannnnn 

lannnnncannnnnn 
1  7 

Fig.  47. 

nnnnnnaannnnnM 
nnnnnaannnnnaa 
nnnnaannnnnaau 
nnnaannnnnaann 
nnaannnnnaannn 
naannnncaacnnn 
aannnnnaannnnn 

Tannnnnaannnnna 
nnnnnaannnnnaa 
nnnnaannnnnaan 
nnnaannnnnaann 
nnaannnnnaannn 
naannnnnaannnn 

iBBnnnnnaannnnn 
1  7 

Fig.  49. 

aannnnaaannnna 
ancnraaannnnMB 
nnnnaaannnnaaa 
nnnaaanrinnamin 
nnaaannnnaaann 
naaa-  -nr::  aaannn 
aaa: "  •  :  aaannnn 
7aB: :Baannnna 
ann:::  'aaa:  :nnnaa 
nnnnaaa: ~Baa 
nnnaaa: .  '  :  aaan 
nnaaa:.::  ^;  aaann 
naaannnraaannn 
laaannnnaaannnn 
1  7 

Fig.  51. 

nannnnanannnnn 
annnnanannnnan 
nnnnanannnnana 
nnnanannnnanan 
nnanannnnanann 
nanannnnanannn 
anannnnanannnn 
7nannnnanannnn» 
annnnanannnnan 
nnnnanannnnana 
nnnanannnnanan 
nnanannnnanann 
nanannnnanannn 
lanannnranannnn 
1  7 

Fig.  53. 


7-harness  twill. 
I 


7-harness  twill. 


7-harness  twill. 
3 


Warp  Face. 

aaaaaanaaaaBan 
aaaaanaaaaaana 
aaaanaaaaaanaa 
aaanaaaaaanaaa 
aanaaaaaanaaaa 
anaaaaaanaaaaS 
naaaaaanaaaaaa 
raaaaaanaaaaaan 
aaaaanaaaaaana 
aaaanaaaaaanaH 
aaanaaaaaanaaa 
aanaaaaaanaaaa 
anaaaaaanaaaaa 
inaaaaaanaaaaaa 


I 


Fig.  48. 


naaaaannaaaaan 
aaaaannaaaaann 
aaaannaaaaanna 

Saannaaaaannaa 
annaaaaannaaa 
annaaaaannaaaa 
nnaaaaannaaaaa 
7naaaaaL:naaaaan 

Saaaannaaaaann 
aaannaaaaanna 
aaannaaaaannaa 
aannaaaaannaaa 
annaaaaannaaaa 
innaaaaannmaaK 

Fig.  50. 

nnaaaannnaaaan 
naaaannnaaaann 
aaaannnaaaannn 
aaannnaaaa:  :nna 
aannnaaaannnaa 
annnaaaannnaaa 
nnnaaaannnaaaa 

7nnBaBBnnnaaaan 
naBaannnaaaann 
aaaannnaaaannn 
aaannnaaaannna 
aannnaaaannnaa 
annnaaaannnaaa 

innnaaaannnaaaa 
1  7 

Fig.  52. 

■naaaananaaaan 
naaaananaaaana 
aaaananaaaanan 
aaananaaaanana 
aananaaaananaa 
ananaaaananaaa 
nanaaaananaaaa 
lanaaaananaaaan 
naaaananaaaana 
aaaananaaaanan 
aaananaaaanana 
aananaaaananaa . 
ananaaaananaaa 
inanaaaananaaaa 

Fig.  54. 


7-harness  twill. 
6 


7-harness  twill. 
5 


7-harness  twill. 
4 


7-harness  twill. 
I  4 


20 


■□■□mBBnannnM 
nannaBBaBDnnMB 
■□□DBMnMnnnMBn 

DMUCM  ■■;iM~n 


nr:BBLiB:  *n:  :bb:  :Bn 
nBB:jB::nuBBnBnn 
iBBnBnnaBB:::Bn:un 

1  7 


Fig.  55. 


7-harness  twill. 
2  1 


I 


nBDBBBnDBnBBBn 

BDBBBnnflnBBBnn 
nBBflnDBDBBflnnB 
BBBoaBaBBflnnfln 

BflnnBDBBBnnBDB 

BDnBnflflflnnBnBfl 
□□BnflBflanBnflBB 

TDflDBBBDnBUBBBn 

BnflBBnDBnflflBnn 

nBBBnnBnBBBUDB 

BflBnnflaBflflnDBa 
BBnnBDBBBnnBnB 
uni  iflDBBBDnflaflB 
inaflDBflflnnBaflBB 


1 


Fig.  56. 


/-harness  twill. 
I  3 


MnaBnDBHDnflnnfl 
OnBnnBBnnBDDBB 
BBnnBBnnBnnBBn 
BaaBBnr]Bnr:BBnn 
ccBBrrziBnnBB' .:  ;b 
rBBnnB-:sBBL!L:Bn 


um: 


nnBBH 


n 
■ 


r_ 

nu.  . 
■:  riHB  rJB  ::  :■■ 
nuBB:  :ljb:  .:       /  ;b 
nBBULjBu:         b:  : 
iBBnnBunBB~::Bua 
1  7 


Fig.  57. 


dBflnBBnnBBnBBQ 

BBDBBnDBBaBBnn 

BnBBunBBnBBanB 

DBBnnBBHBBnnBB 
'BBDDBBnBBnDBBn 
BnnBBUBBnnBBDB 
□□BBDBBnDBBaBB 

7nBBrjBB"nBBnBBn 

BB'JBB;a:  IBBDBBnn 
BUBBDriBBaBBLnnB 

DBBnnBB:jBBnnBB 
BBanBBnBBnnBBD 
BnnBBDBBanBBnB 
inuBBnflBnnBBaBB 

1  7 


Fig.  58. 


nnnBnnBnnnBnnB 
nnBnnBanDBDnBn 
nBnnBnnnBnnBnn 
BnnBnranBDCBnnn 
nnBnnnBj:jB:jnnB 
nBnnnBnnBnnnBa 
BnnnBDnBDa-jBnn 
7nnnBnnBnnnBnnB 
nnBnnBnnnBnnBn 
nBnnBnnnBnnBnn 
BnnBnnnBnnBmn 
nnBnnnBnnBaanB 
nBnnnBnaBnnnBn 
iBnnnBnnBnnnBnn 
1  7 

Fig.  59. 


/■harness  twill. 
I  I 
3  2 


BBBHBBnBBBnBBn 
BBnBBDBBBnBBnB 
BDBBDBBBnBBnBB 
nBBaBBBaBBDBBB 
BBnBBBnBBnBBBU 
BUBBBaBBUBBBOB 
DBBBaBBDBBBnBB 

7BBBnBBnBBBaBBn 
BBnBBDBBBnBBDB 
BnBBDBBBnBBnBB 
DBBnBBBnBBDBflB 
BBnBBBZBBaBBBn 
BnBBBDBBnBBBna 

IDBBBriBBnBBBnBB 
1  7 

Fig.  60. 


7-harness  twill. 
3  2 


nnnBanBnBDBn-B 

ijBLi"  ;b  'B  -b".  _B-i 


"^Br:B::nB: 


DBDC 

BnnB 

noBn 

nBHB 

B-B- 
7nB-  :■ 


b:  ■  ■'  '■'  '  ■ 
n; 'fl  ■  ■: 

IBUBUBunBaBC 

I  7 


inn 


7-harncss  twill. 
I     I  I 
I.I  2 


□BaBBaBUBOBBn 
BHBBaBJBuBB'JB 
DBBaBaBUBBIiBn 
BBDBnBnBBnBLjB 

BrjBnBnBBQBnBU 

□BaBDBBDBnBDB 
BnBHBBnBnBDBB 

aBnBBDBaBDBBn 

BDBBnBDBUBBnB 

□BBDBnBnBBnBn 

BBDBnBDBBnBnB 
BMBnBDBBDBDBn 
UB'JBnBBDBnBDB 
BUBaBBUBOBaBB 


7-harness  twill. 
I     I  2 
I     I  I 


Fig  61. 


Fig.  62. 


For  8-harness,  we  find  the  following  tivills. 


Filling  Face. 

nnnnnnnBnnnnnnnB 
nnnnnnBnnnnnnnBn 
nnnnnBnannnnnBnn 
nnnnBDnnnnnnBnnn 
nnnBnnnnnnnBonnn 
nDBnnnnnnnB;  jnnnn 
BBnnannnnBnnnnnn 
BnnannnnBnnnnnnn 
snnnnmnBnnnnnncB 
nnnnunBnnnnrnnBn 
nnnnnBnannnnnBnn 
nnnnBnnnnnnnBnnn 
EnnBnnnnnnnBnnnn 
nnannnnnnnBnnnnn 
UBnnnnnnnBnnnnnn 
iBnnnnnnnBnnnnnnn 

>  8 

Fig.  63. 


Warp  Face. 


I 


BBBBBBHBBBBBBBnB 

BBBBnBBBBBBBnflBB 
BBBnBBBBBBBnBBBB 
BBnBBBBBBBnBBBBB 
BnBBBBBBBnBBBBBB 


«BB 

BBBBnBBBBBI 

■Bn 

BBB 

BHBBBBBBBni 

IBB 

BBBnBBBBBBBnBBBB 

BnBBBBBBBnBBBBBB 
rZBBBBBBBnBBBBBBB 

1  8 


Fig.  64. 
7  u. 


Filling  Face. 

■nnnnnnBBnnnnnnB 
□nnnnnBBnnnnnnBB 
nnnnnBBnnnnnnBBn 
nnnr-BB.::  :n-:T:nBBnn 
nnrBB-  -':rr^  -"Bannn 
nnBB  ,:  :  BB'jnnn 
HBB.  i.:;^; ..  ,\  ■■■;jnnnn 
BBnnnnu;  ;BBnnnnna 
sBnnnnnnBBnnnnnnB 
nnnnnnBBnnnnnnBB 
nnnnnBBnnnnnnBBn 
nnnnBBnnnnnnBBnn 
nnnBBnnnnnnBBnnn 
nnBBnnnnnnBBnnnn 
HBBnnnnnnBBnnnnn 
iBBnnnnnnBBnnnnnn 


1 


Fig.  65. 


 6 


Warp  Face. 

nBflBBBBnnBBBBBfln 
BBBBBBnnBBBBBBnn 
BBBBBnnBBBBBBnnB 
BBBBnnBBBBBBnnBB 
BBBnnBBBBBBnnBBB 
BBnnBBBBBBnnBBBB 
BnnBBBBBBnnBBBBB 
nnBBBBBBnnBBBBBB 

snBBBBBBnnBBBBBBn 
BBBBBBnnBBBBBBnn 
BBBBBnnBBBBBBnnB 
BBBBnnBBBBBBnnBB 
BBBnnBBBBBBnnBBB 
BBnnBBBBBBnnBBBB 
BnnBBBBBBnnBBBBB 

innBBBBBBnnBBBBBfl 
1  8 

Fig.  66. 

6 

~   J(. 


21 


0«annaaiB«nnnnnB 
■□□□□nBBBnnnnnBB 
nnnnnBBBnnnnnBBB 

nMBBnnnnnBBunnng 

■□□□□□■■■□□nnnBB 
nnannMBMnnnnnBBB 
annnMBBnnnnnBBBU 
nnnBBBnnnnnBBBna 

iBBBnnnnnBBMnnnnn 

1  8 

Fig.  67. 


nMnMnnnMnanananB 
■□■□nnBnM'jBnnnHn 

nnnBDBUBnnnBnBnM 
nnanBaMnnnMnMnMa 
uuau  iBmnMn«rjBnn 
MnBnBjnnBPBnMnnn 
snMaannaMnMnBDnnB 
■□■nnnBnBnBnnnBn 
nMnnDBDBnMnnnBnB 
jBnBnnnBnBU 
nnnBnBnBnnnBDBaB 

1  8 


Fig.  71. 
I  I 


I  I 


nBnnBnnBnBnnMnnB 
■nDBnnBnBnDBnnBn 
nnBnnBnBnnBnnanB 

■□aMnBnnBnnMDBnn 
snBnnBanMDBnnBnnM 
■nn«n«nn»nnMn«nn 

1  8 

Fig.  75. 


I  I 


I 


u. 


nnBnnnnBnnnnnnnB 
nannnnMnnBannnBa 

nnnnMnaMnnnn«nnB 
HanBnnBnnnnannBn 
nnannMnnnnMnnMnn 
BannMnnnnannMnnn 

snnBnnnnannBnnnnB 

nnnDBDnMcnnnannB 

nnBnnBDnnnBDL  laun 
nBnnBnnnDMnnBnnn 
lannBannnBanBunun 

1  8 


Fig.  79. 


innnnBBBBmnnM 
■■mnnBBBBnnnnBB 
■^□□□■■■■□nnnBBB 
nnnnBBBBDnnnBBMB 

□□■■■■□nnoBBBBng 
BBBBBnnnnBBBBnnn 
BBBBnnnnBBBBnuLin 
SBBBnnnnBBBBnnnnB 
BBnmnBBBBnirjnBB 
BnnnnBBBBnnunBBB 
□nnnBBBBnnnnBBBB 
nnnBBBBnnnnBBBBn 
nnBBBBnnanBBBBnq 
DBBBBumaBBBBnad 
iBBBBannDBBBBPnun 

1  8 


nnflBBBflnnDBBBBBQ 
DBBBBBnaDBBBBBUd 
BBBBBDDDBBBBBnnn 
BBBBnUUBBBBBanDB 
BBBaDDBBBBBDnDBB 
BBnnnBBBBBnDDBBB 
BnnDBBBBBDnDBBBB 
□nDBBBBBnnnBBBBB 
BDDBBBBBnanBBBBBn 
DBBBBBDODBBBBBna 
BBBBBnnnBBBBBDnn 

"  innnBBBBBnnnB 
.  innDBBBBBnnnBB 
BBDmBBBBBanni  ~ 
BnnnBBBBBnnni" 
innnBBBBBnnnr" 

1  8 

Fig.  68. 
5 

 u. 


■□BDBBBDBnBnflBBn 
DBnBBBDBaBnBBBDB 
BnBBBDBDBnBBBDBn 
nBBBnBDBnBBflDBDB 

BBBnBnB'JBBBnBnBn 

BBnBnBnBBBnBnBDB 
BDBDBnBBBUBnBnBB 
□BDBDBBBDBDBDBBB 
8BnBDBBBnBUBDBBBn 
nBnBBBnBDBDBBBDB 
BnBBBDBIJBDBBBaBn 
nBBBDBDBnBBBDBnB 
BBBnBnBDBBBnBDBn 
BBaBDBDBBBnBnanH 
flaBDBaBBBnBQBDBB 
IDBDBnBBBnBnBDBBB 


1 


Fig.  72. 

I     I  3 
I  I 


nDBBDflBdflnBflDflflQ 
DBBDBBDBnBBnBBnfl 
BBDBBnBnBBnBBnBn 
BnBflnBDBBDBBnBDB 
□BflnBaBBDBBDflnBB 
BB[JBDBBnBBDBnBBn 
BDBnBBDBBDBDBBDB 
nBaBBDBBDBDBBDBB 

SBDBBnBBnBnflBDBBn 
nBBDBBUBnBBDBBDB 
BBnBBDBDBBDBBnBa 
BDBBnBnBBnBBnBDB 
DBBnBDBBDBBnBDBB 
BBDBnBBUBBnBnBBn 
BnBnBBDBBUBUBBDB 

inBDBBaBBnBDBBnBB 
1  8 

Fig.  76. 


I  I 


in 


flnBBBBDBBDBBBBafl 
nBBBBnBBDBBBBnBB 
flBBBaBBDBBBBnBBn 
BBBnBBDBBBBnBBDB 
BBnBBDBBBBDBBDBB 
flnBBDBBBBDBBnBBB 
nBBnBBBBDBBDBBBB 
SBBnBBBBDBBDBBBBD 
BnflBBBnBBDBBBBnB 
nBBBBDBBnflBBBDBB 
BBBB-aBBnBBBBGBBD 
BBBaBBnBBBBnBBDB 
BBDBBLIBBBBnBBnBB 
BnBBDBBBBDBBnBBB 
inflflDBBBBDBBnflBBB 


1 


Fig.  80. 


I  I 


u. 


Fig.  83. 


BB^B^^^BBB^Bd^^B 
BDBnanBBBnBnnnBB 
□BnmBBBnBnmBBB 
BmnBBBaBnnnBBBn 

DUTBBBnBnnnBBBDB 

dnBBBnBnnnBBBDBn 
nBBBQBnnnBBBnBnn 
BBBnBDnnBBBnBnan 
sBBnBUdnBBBHBnnnB 

B[1B-:Z|-JBBB  'B      '  BB 

nBnDnBBB~'fl[]:  r  ibbb 
BnnnBBB""iB'  ]■  itnBBBD 

□mBBB'IB-  I'  IllBBBnB 
□□BBBHB'  ;'  r  IBBBOBD 

dbbbdb:  ::  i;  iBBBnann 
iBBBnBULi:  j-BBBnannn 

1  8 

Fig.  84. 


nBDnnnnBaBannnno 
BnnnnnBnBnnnnnBD 
nnnnnBnBQDnnnBnB 
nnnnBnBnnnnnBnBU 
nnnBnBnnnnnBnBnn 
□nBnBnnnnnBOBnnu 
nBnBnnnnDBnBnnon 
BnBnnnnnBnBLinnnn 
8nBnnnnnBUBnnnnnB 
BnnnnnBnBnannnBn 
nnnnnBDBnnnnnBnB 
nnnnBnBnnnuDBnBn 
nianBnBrjnnrjUBi  :Bnn 
nDBnBDnnni-iBCBnnn 
nBnBnnnnnBDBnnnn 
iBnBnnnnnBnBnnnnn 

1  8 

Fig.  69. 


I 


II. 


BnBonnnBBnBnnnnB 
DBnnnnBBnBnnnnBB 
BnnnnBBnBnnnnBBn 
nnnnBBUBnnnnBBDB 
nnnBBDBnnnnBBnBn 
nnBBnBnnnnBBDBnn 
nBBnBnnnnBBCBnnn 
BBnBunnnBBnBnnnn 
8BnBnnnnBBnBnnnnB 
nw  ;r:  ~:bb  b:  Ji  .:  ::ibb 
BnnnnBBnBunnnBBn 
nnnnBBnBnnnnBBnB 
nnnBBnBnnnnBBnBn 
nnBBnBnnnPBBnBnn 
nBBnBnnnnBBCBnnn 
iBBnBnnnnBBnBnnnn 


1 


Fig.  73. 


u. 


anBBnBBdnnBBDBBn 
HBBHBBnnnBBnBBnn 
BBnBBnnnBBnBBnnn 
BnBBnnnBBnBBnnnB 

PBBn:  l"'BB'  'BB    ~  i  BB 

BBnnnBBnBBuncBBn 
BnnnBBnBBnnnBBnB 
nnnBBnBBnnnBBnBB 
snnBBnBBnnnBBnBBn 
nBBnBBnnnBBnBBnn 
BBnBBnnnBBnBBnnn 
BnBBnnnBBi  jbb:jddb 
nBBnnnBBnBBnncBB 
BBnnnBBnBBnnnBBn 
BnnnBBnBBnnnBBnB 
innnflflnBflnnnBBnBB 

1  8 

Fig.  77. 


■nnnBnnBBnnnBnna 
□nnBnnBBnnnBnnBB 
nnBnnBBnnnBnnBBn 
HBnnBBnnnBnnBBnn 
BnnBBnnnBnnBBnnn 
nnBBnnnBnnBBnnnB 
uBBnnnBnnBBnnnBn 
BBnnnBnnBBnnnBnn 
8BnnnBnnBBnnnBnnB 
nnnBnnBBnnnBnnBB 
nnBnnBBnnnBnnBBn 
nBnnBBnnnannBBnn 
BnnBBnnnBnnBBnnn 
nnBBnnnBnnBBnnnB 
nBBnnnBnnBBnnnBn 
iBBnnuBnnBBnnnann 

I  8 

Fig.  Si. 


I 


BnBHBnnBBnBHBnnB 
HBnBnnBB:  iBnBnnBB 
BHBnnBBnBnBnnBBH 
nBnnBBnBnBnnBBnB 
BnnBBnBnBnnBBnBn 
nnBBt  wnBnnBBUBnB 
HBBnBnBnnBBnBnBu 
BBnBHBnnBBUBnBnn 
8b:  iBHBnnBBnBnBnnB 
nBnBnnBBnBnBnnBB 
BnBnnBBHBnBnnBBn 
nBnnBBnBnBnnBBnB 
BnnBBnBnBnnBBnBn 
BnBBnBnBnnBBnanB 
UBBnBnBnnBBnBnBn 
iBanBnflnnBflnflnBnn 

1  8 


BnflflBBBnflnflflflBfln 

nBBBBBnBnBBBBBnB 
BBBBBnBnBBBBBnBn 
■BBBnBnBBBBBnBnB 
BBBnanBBBBBnBnBB 
BBnBnBBBBBnBnBBB 
BnBnBBBBBnBnBBBB 
nBnBBBBBnBnBBBBB 
SBnBBBBBnBnBBBBBn 
nBBBBBnBnBBBBBnB 
BBBBBnanBBBBBnBn 
BBBBnBnBBBBBnBnB 
BBBnBUBBBBBnBnBB 
BBnBnBBBBBnBnBBB 
BnBnBBBBBnBnBBBB 
inBnBBBBBUBnBBBBB 


1 


Fig.  70. 

I  5 


□BnBBflflnnBnBBBBn 
BnBBBBnnBnBBBBnn 
nBBBBnnBnBBBBnnB 
BBBBnnBnBBBBnnBn 
BBBnnBnBBBBnnBnB 
BBnnBnBBBBnnBnBB 
BnnBnBBBBnnBnBBB 
nnBnBBBBnnBnBBBB 
8nBnBBBBnnBnBBBBn 

BnBBBBnCBUBBBBnn 

nBBBBnnBnBBBBnnB 
BBBBnnBnBBBBnnBn 
BBBnnBnBBBBnnBnB 
BBnnBnBBBBnnBnBB 
BnnBnBBBBnnBnBBB 
innBnBBBBnnBni" 

1  8 

Fig.  74. 


BBnnBnnBBBnnannB 
BnnBnnBBBnnBnnBB 
unBnnBBBnnBnnBBB 
nBnnBBBnnBnnBBBn 
BnnBBBnnBnnBBBnn 
nnBBBnnBnnBBBnnfl 
nBBBnnBnnBBBnnBn 
BBBnnBnnBBBnnBnn 
sBBnnBnnBBBnnBnnB 
BnnBnnBBBnnBnnBB 
nnBnnBBBnnannBBB 
nBnnBBBnnBnnBBBn 
BnnBBBnnBnnBBBnn 
nnBBBnUBnnBBBnnB 
nBBBnnBnnBBBnnBn 
iBBBnnBnnBBBnnBnn . 

1  8 


Fig.  78. 


u. 


nBBBnBBnnBBBnBfln 
BBBnBBnnBBBnBBnn 
BBnBBnnBBBnBBnnB 
BnBBnnBBBnBBnnBB 
nBBnnBBBnBBnnBBB 
BBnnBBBnBBnnBBBn 
BnnBBBi^BBnnBBBnB 

nnBBBCBBnnBBBnBB 
SHBBBnBBnnBBBnBBn 

BBBnBBnnBBBnBBnn 
BBnBBnnBBBnBBnnB 
BnBBnnBBBnBBnnBB 
nBBnnBBBnBBnnBBB 
BBnnBBBnBBnnBBBn 

BnnBBBnBBnnBBBHB 

innBBBnBBnnBBBnBB 


1 


Fig.  82. 


I 


nBBnBnnflnBBnflnnfl 
BBnBnnBnBBnBnnBn 
BnB:  "BnBBnBnnBnB 
□B  B  BB  Bi:'  b::bb 
Bni  iBi  :BBnBnnBnBBn 
nnBtiBBDBnnBnBBnB 

nBHBB"  IB-;  'BnBB:_Bn 

BnBBnBnnanBBnBnn 
8nBBnBnnBnBBnBnnB 
BBnBnnBnBBnBnnBn 
BnBnnBnBBCBncBnB 
nBnnanBBnBnnBnBB 
BnnBnBBnBnnBnBBn 
L  inBHBBHBnnBnBBnB 
nBnBBnBHHBnBBnBn 
iBnBBnannBnBBnflnn 

1  8 


Fig.  85. 


Fig  86. 


22 


Figs.  83  to  86  inclusive  are  th^  even-sided  twills  on  8-harness. 

The  same  method  observed  in  designing  every  common  twill  possible  from  3  to  8  warp- 
threads  in  repeat,  as  shown,  is  continued  for  twills  of  any  higher  number  of  harness  repeat. 
The  more  harness  we  can  use,  the  larger  the  variety  of  twills  which  may  be  obtained. 


Combinations  of  two  or  more  Colors  for  Producing  different  Effects  upon  Fabrics 

interlaced  on  the  "  Twill  "  System. 

In  this  system  of  weaves  an  endless  variety  of  effects  are  produced  by  the  different  arrange- 
ments of  colors.  The  same  are  extensively  used  in  the  manufacture  of  ladies'  dress  goods,  fancy 
cassimeres,  fancy  worsteds  and  similar  textile  fabrics. 

In  Fig.  87  is  illustrated  the  3-harness  twill  r 

applied  to  2  ends  light 
I  end  dark 


Arrangement 

Weave 

of 

Warp. 

> 

J-  0  g 

Eflfect. 

3 

Hw  !!  ''| 

Lid  c:  ifl 

pH  ;| 


Fig.  87. 


■■■ 

■■ 

Ct ; 
a- 

"  ] 
:;  r1 

□r-;  • 

m 

"  !  m 

can 

"  rm 

□h: 
□n  • 
□fi'  • 
□he:  i: 

rm 
•>m 

::  'M 
,  a  ,m 

ami  1 

IV.  If,  ^ 

Fig. 


Fig.  89. 


3  ends  in  the  repeat  for  the  color  arrangement  of 
warp  and  filling.    The  interlacing  of  the  different  color  threads 
is  arranged  so  that  each  color,  in  filling,  covers  its  own  color 
in  the  warp ;  hence  the  dark  filling  must  be  interwoven  in  the 
shed,  which  has  all  the  dark  warp-threads  in  the  lower  part,  and  all  the  light  warp-threads  raised 
The  effect  represents  what  is  technically  known  as  "  hair  line." 

Weave  Fig.  88,  illustrating  the  4-leaf  twill  can 

also  be  used  for  producing  a  "  hair-line  "  effect  by  using  for 
the  color  arrangement  of  the  warp  and  filling 

3  ends  light, 

1  end  dark, 

4  ends  in  the  repeat. 
The  dark  filling  has  again  to  cover  its  own  color  in  the 

warp  to  produce  the  required  effect.    This  weave,  (-  can  also  be  used  in  an  arrangement  ot 

2  ends  light,  2  ends  dark,  in  the  warp  and  filling,  for  producing  a  "  line  "  equally  as  heavy  as  the 
ground  in  the  direction  of  the  warp  for  effect. 

Fig.  89  illustrates  the  effect  of 

2  ends  dark, 
2  ends  light, 

4  ends  in  repeat  of  color  arrangement 
for  warp  and  filling,  upon  a  fabric  having  the  4-harness 
even-sided  twill  for  weave.  The  placing  of  the  colors  as 
represented  in  the  latter  effect,  will  prevent  the  filling  from 
showing  more  prominently,  than  the  warp.  The  principle  observed  is,  to  place  one  of  the  light 
picks  in  the  shed  formed  by  light  color  down  dark  color  up ;  the  other  light  pick  is  to  be  inter- 
woven when  half  of  the  light  and  half  of  the  dark  warp-threads  are  up,  and  the  remaining  one- 
half  of  each  are  down. 

Fig.  90  illustrates  a  "  zig  zag  "  arrangement  for  effect,  as  produced  upon  a  fabric  interwoven 
upon  the  4-harness  even-sided  twill  with  a  color  arrangement  of 

I  end  light, 

1  end  dark, 

2  ends  in  repeat  for  the  warp  and  filling. 


■■■□□□□□□□□□□□□□a 

8r  ■■■n  o      'r:  in  %am 

gg„  .,„;;  ..,,><^ 

□□[: 

cg:: 

I 


□□■■I 

amn 


■nnnnnnnnnnnno 


Fig.  90. 


Fig.  91. 


'23 


Fig.  91  represents  a  "  spot  effect "  obtained  upon  a  fabric  interlacing  with  the  5 -harness 
twill.    Color  arrangement  for  warp  and  filling  to  be  2  ends  dark,  3  ends  light. 

Fig.  92  illustrates  a  "  zig  zag  "  arrangement  for 
effect,  as  produced  upon  a  fabric  interwoven  with  the 
6-harness  j  even-sided  twill  and  a  color  arrange- 
ment of  2  ends  light, 
I  end  dark, 

3  ends  in  repeat  for  the  warp  and  filling. 
Figs.  93,  94  and  95  illustrate  similar  effects  pro- 
duced on  a  warp  and  filling  arrangement  of 
I  end  light, 

1  end  dark, 

2  ends  in  the  repeat. 


■ 

■  ■■ 

■  ■■ 

r  ■■■ 

.  ■■■ 

c;  il  I'j 

mu-m  r  nn  ■! 

m 

■  ■■ 

■a  ■ 

a 

 □ 

[;:;  :■  n 

Fig.  93. 


Fig.  92. 


■  ■  ■  ■ 

inn 

'  ■  ■■ 

nma 
r.  !□ 

■  ■■  ■ 

■■  ■  ■ 

t-«ta_  .  l; 

CUHC3HULGC; 

□□BBHPDBt, 

Fig.  93  illustrates  the  fabric  produced  with 
the  5-harness    J  '  J-  twill. 

Fig.  94  calls  for  the  7-harness  '  ^  '  ^  ^ — j 
twill,  and  Fig.  95  for  the  9-harness  ^  /  /  /  — 
twill. 


■■□ 

I 

■□■ 

■ 

■ 

■ 

■ 

■ 

H 

■ 

■■ 

■ 

■ 

■ 

■a 

■ 

■ 

■ 

■ 

■ 

■ 

■  ■ 

■ 

■ 

■ 

□□ 

□D. 

□Ci. 

cu 

□r 

""'■'""a 

□r' 

rr 
(  ■ 

::  a 

r.' 

a  a 

LA 

CU. 
□Cl 

[;      a  a 

nnr 

::  aHarta 

□□ca 

aa 

a  a  a  amama 

Fig.  94. 


Fig.  95. 


In  diagrams  Figs.  96,  97,  98  and  99,  four  specimen  effects  of  three-color  arrangements  in 
warp  and  filling  are  given.  Such  combinations  find  extensive  use  in  the  manufacture  of  fanc^ 
cassimeres  and  fancy  worsted  suitings. 


innBBnr  anr  "innrinnnnnn- 


'-13 


"innnnnn 
'■-mr-iammm 


•BHM 

asffl 


■E3B 

•■!  m      'I'M  fssm 

m      >:«    >:-L-  ^-snm 

>:•■ 

.uuaBB.iiaaBBBasBBuaaa 


i~  _aBBB 

G:  IfflSBB 
□DBBBBL 


Fig.   96  illustrates  the  effect  derived  from  the  even-sided 
4-harness  twill,  by  the  following  arrangement  of  warp  and  filling : 
2  ends  light,        ^       color  No.  i. 
2  ends  medium,     >  or,      "    No.  2. 
I  end  dark,  j  "     No.  3. 

5  ends  repeat  in  color  arrangement ;  thus,  5  X  4  =  20' 
threads,  repeat  of  effect. 


Fig.  96. 


Fig.  97  illustrates  the  effect  derived  from  the  same 
weave  as  used  in  the  foregoing  example,  with  the  follow- 
ing arrangement  for  warp  and  filling  : 

4  ends  light,       ~]  color  No.  i. 

4  ends  medium,  "     No.  2. 

4  ends  dark,        (  "     No.  3. 

4  ends  medium,  j  "     No.  2. 

16  ends  repeat  in  color  arrangement,  and  as  16 
is  a  multiple  of  4  (repeat  of  weave),  16  threads  are  also 
the  repeat  of  the  effect  in  addition  to  color  arrangement. 


BB 


■nnBDnnoDnnDnanDonnnGnannnanannnDaao 
-'~mu~n'^^' — nnnnnnan~r~'  

BB        <" -'BasaBBBBSSaB 
►laaBBBBBEBaiJ 


□Dl 

□■L   

■B'/irjBBC'Cn 

CinWHHiarjrjH--- 

[  ■ 

E-ii 


  _     _  _'^i^aBaBBBBa^i)a  _   

DCBSBB  C<B>IiBaBBBBBaBBB  •  -IBBBBBBI 

□□BBBB  BB  BBBBBBBSBBB  sBB-iBBBBaHBtitBI 
CDBBBB      BB  iBBaBBBBBBBaBBB'mBBSBaBBBBBI 

D'^aaaa  a  BBaBBBaaaBaBBB  ''waaaaaaaaaai 
Duaaaa        ■B>:->-i<aaaaBaBBBB  Baa^'aaaaaaBai 

aafflBfflBafflffls>:-  >;••;•  -s-i^'Laaai 
¥aaBBH<v-:-  --■-i-ovaBB, 

IBBBBBkl'v  IT-'E-vv'iiaa 


DC 

c.nsBBa 

gCBBBB 


■i"i<    mm  ■ 

;•  v^r'aaaaaaBBB'T' 
•:-aBBBBaBSBBH< : 
>:<>i'aaHBBBBaBB>i'-: 
>i<^>-iiaffli 


rr'aaaa 

V_'  BBBB' 

ccaaaa 

pCBBBB' 

DCiBsaa: 

nCBBBB' 
[CCBBBffi._ 


gafflBBS 

Bv  iB 

BB  i^B 

.  BB  aaa 

BB  -iBBBM 

i-oaaaaBBsas 

I-'l^BB  

i-a>2a 
aaai 

■aai 


Fig.  97. 


24 


■■□□□■□□onronaaarja 

■nnnMannnnnnnnn^  i 

:.  ■■■  -  mm  sa 


Fig.  9S 


Diagram  Fig.  98  illustrates  the  effect  derived  from  the  '  j  6-harness 

even-sided  twill,  by  the  following  color  arrangement : 
I  end  light,      ^        color  No.  i. 
I  end  medium,  >  or,     "     No,  2. 
I  end  dark,      )  "     No.  3. 

3  ends  repeat  in  color  arrangement,  the  same  repeating 
twice  in  one  repeat  of  the  weave,  also,  one  repeat  of  effect  in  fabric. 


Fig.  99  illustrates  the  same  weave  as  used  in 
Fig.  98,  arranged  for 

3  ends  light,  ^  color  No.  I. 
3  ends  medium,  V  or,  "  No.  2. 
I  end  dark.        )  "     No.  3. 

7  ends  repeat  in  color  arrangement,  and  as 
this  7  is  no  multiple  of  the  6  (repeat  of  weave)  or 
vice  versa,  7  X  6  =  42  threads  in  warp  and  filling 
are  required  for  one  repeat  of  the  effect. 


It  ■  ■ 
□I  ■■ 

cwmu 
mmm 

L 

I 
I 


Li 

roil 

0  ■ 

r;i  " 

1  &n< 

[  K'H' 


[  EBB 


^nnmnmnrim" 


•■jfL-HQB  lHfflfflBBB>I<>; 

IB  '  mmmm 


In  diagram  Fig.  loo,  a  specimen  example  is 
given  of  3  colors  arranged  in  warp  and  filling  upon 

the   4-harness  twill  for  producing  a  hair-line 

effect,  as  used  in  the  manufacture  of  woolen  and 


worsted  trouserings,  etc. 


Fig.  99. 


■■:<BBBaB 

I'-iiSBBBB 


■■ '^B 

BB 

iBB 

BB 

IBB 

a  BB 

BB 

BB 

BB 

'BB 

'  ■■■ 

>:-B 

■I'B 

vB 
BB 

BB 
BB 

r'Bn< 
I  mm 

>I'B 
'I'B 
BB 

BB 
BB 
BB 

BB 
BB 

BB 

W-  : 

BB 

BB 

BB 

BB 

BB. 

BB 

''BB 

'BB 

.^BB 

B9 

Arrangement  of  warp  and  filling  : 
2  ends  light,  | 
I  end  medium,  V  or, 
I  end  dark,  ) 


color 


No. 
No. 
No. 


Fig.  100. 


4  ends  in  repeat. 

In  placing  the  filling  in  this  present  sample  as  well  as  similar  effects,  eac/i  individual  color 
in  filling  must  cover  the^ame  color  in  the  warp,  according  to  rules  given  for  producing  effects  with 
two  colors. 

It  will  be  seen  by  the  student  that  these  effects,  until  now  produced  with  two  or  three 
colors  in  each  example,  can  readily  be  extended  to  effects  with  four  or  more  colors  in  warp,  or  in 
filling,  or  in  both  systems  combined  at  the  same  time. 

The  effects  shown  in  Figs.  90,  92,  93,  94,  95,  96,97,  98  and  99  are  designed  on  the  basis 
of  equality  of  texture  in  warp  and  filling,  as  also  of  similar  thickness  of  thread  for  both  systems ; 
therefore,  any  changes  in  one  or  the  other  will  have  a  corresponding  influence  on  the  effect. 


Satin  Weaves. 


Satin  weaves,  also  technically  called  satins,  are  without  the  prominent  lines  which  are 
identical  with  the  regular  twills ;  consequently  satins  are  characterized  by  a  smooth  face.  In  twill 
weaves  the  points  of  intersection  follow  consecutively,  but  in  satin  weaves  this  is  not  the  case ;  they 
being  arranged  to  interlace  at  intervals  of  one,  two,  three,  four  or  more  threads.  The  principles; 
for  the  construction  of  satins  are  to  arrange  as  much  as  possible  distributed  stitching,  and  to  have 
it  done  at  the  same  time,  as  regular  as  possible.  The  more  scattered  we  can  arrange  the  inter- 
lacing of  the  warp  and  filling  the  less  these  points  of  intersection  will  be  visible  in  the  fabric. 
The  lowest  satin  that  can  be  produced  is  found  in  the  five-harness  satin  ;  after  this  the  same  can  be 
made  "  regular  "  on  any  number  of  harness,  with  the  exception  of  six.  The  four-leaf  broken- 
nnannnBn  twill  is  also  sometimes  classified  as  a  "  satin,"  but  against  the  rules  of  construction 
■"□□■□Bn  fo*"  these  weaves,  as  on  two  successive  picks  the  interwoven  threads  are  next  to  each 
^mnSBBnS  other  (see  Fig.  loi).  The  points  of  intersection  of  the  numerous  satins  are  found  by 
iBDnnannn  the  foUowmg  rule  : — 

Fig.  ioi  Divide  the   number   of  harness  for   the   satin  into  two  parts,  which  must 

neither  be  equal  nor  the  one  a  multiple  of  the  other;  again  it  must  not  be  possible  to  divide 
both  parts  by  a  third  number.  After  finding  this  number  (which  is  technically  known  as 
"  counter "),  add  it,  commencing  to  count  from  one  until  all  threads  or  harness  are  taken  up. 
For  example  :  Find  satin  weave  for  five-harness  (5  equals  2  plus  3) ;  commencing  to  count  with 
one  and  adding  always  two  points  we  find : 

l  +  2  =  3  +  2=:5  +  2  =  7  or  2  +  2  =  4  +  2  =  6  or  I  giving  the  points  for  intersection 
in  the  weave  as  i,  3,  5,  2,  4,  which  means : 

The  first   pick  intersects  with  the  1st  warp-thread  (ist  harness  up). 


second 
third 
fourth 
fifth 


0"^ 

5th 

2d 
4th 


(3d 
(5th 

(2d 

(4th 


This  construction  is  illustrated  by 

Fig.  102,  in  its  principle  (arrow  S  indicating  the  rotation  of  picks,  arrow  O  indicating  the 
counting  off  of  warp-threads  for  each  successive  pick). 

Fig.  103  illustrates  the  same,  applied  to  the  regular  designing-paper,  being  filling  up  or 
«  ^      filling  for  face. 


5th  pick. 


4th 


3d 


2d 


1st 


nnnBonnnan 

nnnnBnnnnM 

■nnnnBnnnn 
snnnMnnnnan 
nMnnnnBnnn 

nnMnnnnann 
lannnnannnn 
1  5 

Fig.  103. 


Fig.  104  illustrates  the  same  changed  to  warp 
up  or  warp  face,  by  simply  exchanging  "sinkers" 
(down)  to  ''raisers"  (up). 


O 


BBnaaaauaa 
naaaanaaaa 
oaaanaaaana 
aaaaaanaaa 
aaaanaaaan 
Banaaaanaa 
inaaaanr 
1  5 


Fig.  102. 


Fig.  104. 


(25) 


26 


Fig.  105  illu.stratcs  (enlarged)  a  fabric  interlaced 
in  the  5 -harness  satin,  constructed  as  explained 
before. 

The  5-harness  satin,  as  well  as  other  satins 
produced  with  any  number  of  harness,  can  also 
be  obtained  by  constructing  the  design  lengthwise ; 
in  this  case  (taking  the  5-harness  for  example)  we 
find 

The  first  warp-thread  must  stitch  in  the  ist  filling, 
"    second    "  "       "       "  3d 

"    third      "  "       "       "      5  th 

"    fourth     "  "       "       "  2d 

"    fifth        "  "       "       "  4tli 

This  construction  of  the  5-harness  satin  is  illus- 
trated by 

Fig.  106,  in  its  principle  (arrow  S  indicating 
the  .rotation  of  warp-threads,  arrow  O  indicating  the  counting  off  of  warp-threads  for  each 
successive  pick). 

Fig.  107,  the  same,  applied  to  the  regular  designing  paper. 

Fig.  108  is  the  same  satin  warp  up  or  warp  for  face. 


Z  3.  t  .  5  &   7.  8  9:  10 
Fig.  105. 


5th  pick. 

2 

5 

I 

4lh  " 

I 

2 

4 

3d  " 

3 

I 

2 

2d  " 

2 

2 

I 

ISt  " 

I 

I 

2 

c 

ISt  Warp- 
thread. 

•a 

to 

-<-«« 
Fig.  106. 


Filling  for  face. 

■nnnnBDnnn 
snn«nnnnBnn 
nnnn«nnnnB 
n»nnnD«nnn 

i«nnnn«nnna 

1  5 

Fig.  107. 


flBBDaaaanB 
naaaanaaaa 
.5aaDaaaanaB 
aaaanaaaan 
BDaaaaaaBB 
aaanaaaana 
inaaaaai 
1 


Fig.  108. 


A  careful  examination  of  Figs.  103  and  107  will  show,  as  the  only  difference,  the  "satin 
twill"  (which  later  on  will  be  more  particularly  described), but  taken  in  a  general  technical  point  of 
view,  for  constructing  weaves  both  are  identical.  The  first-mentioned  rule,  counting  off  the  picks 
in  rotation  and  the  harness  (or  warp-threads),  according  to  the  "counter"  obtained,  is  in  general 
use. 

Design  shown  in  Fig.  107  would  also  have  been  obtained  by  the  first  rule  in  using  the  other 
part  the  5  is  composed  of,  namely,  the  3  for  counting  off,  thus 

l+3=4+3  =  7  =  2+  3  =  5-f3  =  8  =  3+  3  =  6=i, 

or  the  stitch  as  i,  4,  2,  5,  3. 


27 


For  6-harness  (6  warp-threads 
found,  as  6  can  only  be  divided  in  2 
which  numbers  are  against  the  rules  for  constructing  satin 
weaves.  Being  sometimes  compelled  to  use  a  satin  on  6- 
harness  we  must  use  the  next  best  to  a  perfect  satin  as 
found  in  l — 3 — 5 — 2 — 6 — 4,  illustrated  in  Fig.  109, 
filling  for  face;  Fig.  no,  warp  for  face. 

For  y-lianicss  two  regular  (perfect)  satins  are  found 
by  dividing  7  into  2  plus  5  and  3  plus  4. 

Counting  off  for  the  first  kind  we  get  by  using  the  2 
for  counter:  14-2  =  3  +  2  =  5  +  2  ==  7+2  =  9  =  2  + 
2  =  4  +  2  =  6  +  2  =  8  =1,  or  I,  3,  5,  7,  2,  4,  6,  and  illus- 
trated in  Fig.  1 1 1,  filling  for  face  ;  Fig.  112,  warp  for  face. 


for  repeat),  as  already  mentioned,  no  regular  satin 
plus  4  or  3  plus  3, 


IS 


In  the  construction  of  the  other  satin  for  7-harness  and 
using  the  3  for  counthig  off  we  get  1+3=44-3  =  7  + 
3  =  10  =3  +  3  =  6  +  3  =  9=  2  +  3  =  5  +  3  =  8  =  I, 
or  I,  4,  7,  3,  6,  2,  5,  illustrated  in  Fig.  113,  filling  up; 
Fig.  1 14,  warp  up. 


nnnBnnnnn«nn 
nnnnnBnnnnnB 
nMnnnnnannnn 
nnnnBnnnnnBn 

■□nnnnannnnn 
6nan«nnnnn«nn 
nnniaB«nnnnn« 
HBnnnnnBnnnn 
Bann)BDnnnn«n 
nn«nnaan«nnn 
i«annnn«nnnnn 

1  6 

Fig.  109. 

nnnrnMnnnnnnan 
nnnMnnnnnnBnnn 
nannnnnnmnnnnn 
nnnnnn«annnnnB 
nnnnMnnnnrnnBnin 
nnMnnnnnnannnn 
■nnnnnnHnnnnnn 

TnannnMnnnnnnan 
nnnaannnnnannn 
nBognnnnBannnn 
nnnndH»nnnnnnB 
nnnnBunnnnn«nn 
dnMnnnnnnannnn 

iMmnmnMnnnixin 
1  7 

Fig.  III. 

nnnnMnnnnnnann 
nannannnMnnnnn 
unnDnannnnnnan 
nnannnnnnannnn 
namnnBunnnnnB 
nnuBmnnuDMnnn 
■nnnnnnannnnnn 
7nnnnMnnannn»nn 
nBannnnnannnnn 
DnnnnannnnnnMn 
noBnnnmnBnnnn 
nnnnnnannnnnnB 

lannmnnannnnnn 
1  7 


■■■■■DMiann 

aaaanaaaaana 
aanaaaaanaaa 
naaaaanaaaaa 
fiBaanaaaBBDaa 

BaBBaDBBBBBn 

flnaaBBBDaaaa 
aBBB^BBBBana 
BanBBBaanBBB 

IDaBBBBL^BflBBB 


Fig.  1 10. 


BflBBflaBflflflflBttB 

BBBnaBaaaanaaB 
BnaaBaBanaaaaB 
BBaBBanaBaaaan 
flBaBnaaaaaBaafl 
flflnBaaaaaDBBBfl 
TnaBaBBanBaaaaa 
BBaaBnaaaaaana 
BBBnaBBBBanaafl 

■□BBBBBBnBBBBB 
BBBBBBOBBBBBBD 
■BBBDBBBBBBDBfl 
BBDflBBBBBDBBBfl 
IDBBflflBBnBBBBflfl 


1 


Fig.  112. 


BBflflDflflBflflflnBB 
BaBBBBBflDBBBBB 
flBBBBnBBBBBBDfl 
BflDBflBBBBDBBBB 
■BBBBBDBBBBflfln 
■BBDflBBBBBDBBB 
DBBBBBBUBBBBBB 
7BBBBnBflBBBBnBfl 
BDBBBBBBnBBBBB 
BBBBBDBBBBBBnfl 
BBDBBBBBBnBBBB 
■BBBBBDBBBBBBn 
■BBnBBBBBBDBBfl 
inflflBBBB~flflBBBB 


1 


Fig. 


For  8-harness  we  find  only  one  perfect  satin 
as  the  8  can  only  be  divided  into  3  plus  5.  The  count- 
ing off  for  the  design,  always  adding  3,  will  be  as 
follows : 

1+  3=4+  3=  7+  3=1 0=  2+  3=  5+  3=  8+3=11 
=3+3=6+3=9=1.  or  I,  4,  7,  2,  5,  8,  3,  6,  illustrated 
in  Fig^li5,  filling  for  face;  Fig.  116,  warp  for  face. 


113- 

gnnonBnnnnnnnBm 
nBnnnnnnnBnmna 
nnnnnnQBnnnnnnnB 
HQnnBnnnnnnnBnnn 
dBnnnnnnnBnnniann 
nnnnanBnnnnnunBg 
nnnBnnnnnnoBpnnn 
■nnnnnnnBnnmnnn 
snnnnnBnnnnnnnBng 
nnBnnnnnnnBtnnnnd 
nnnnncnBnmnHgnB 
nnnnBannnnnnBOnn 
nBnnnnnnnBnnnnnS 
nnannnBnnnnnngBa 

iBnnnnnnnBHnnnnnn 

1  8 

Fig.  115. 


Fig.  114. 


BBflflBnflBBaBBflQBH 
BBnBBBBBBBDBBBBfl 
BBBflBBBDBBBBBflfln 

■■■■DMHaaanHH 
MDaaaaBMHnaHaaaa 
■■aaaanaaaaaaana 
aaagaaaaaaanaaaa 
naaaaaaanaaaaaaa 
saaaaanaaaaaaanaa 
aanaaaaaaanaaaaa 
■aaaaaanaaaaaaaa 
aaaanaaaaaaanaaa 
anaaaaaaanaaaaaa 
■BBBBBnaaaaaaana 

BBBDBaBBBBBaBaBa 

inaaflBflflBnaaBBBBB 

1  8 

Fig.  116. 


Upon  g-harjicss,  we  can  design  two  different  satin  weaves,  for  the  number  9, 
in  accordance  with  the  rules,  can  be  divided  into  2  plus  7  and  4  plus  5. 

Commencing  to  count  off  with  2  for  producing  the  first  kind  of  satin  we 
get:  I,  3,  5,  7,  9,  2,  4,  6,  8,  which  is  illustrated  in  filling  for  face  in  Fig.  117.  If 
requiring  warp  for  face  read  this  as  well  as  any  of  the  following  designs,  illustrated 
in  succession  up  to  1 6-harness,  n  for  raisers  (up),  ■  for  sinkers  (down). 

Commencing  to  count  off  for  the  second  kind  of  satin  weaves  on  9-harness, 
using  the  4  for  counter,  we  get:  i,  5,  9,  4,  8,  3,  7,  2,  6,  which  is  illustrated  in 
Fig.  118. 


sannannnan 
nnnnnannn 
nnnanmnn 
nannnmnn 
SnnnnnnnB 
Bnnnnnann 
Bnnnannnn 
.Opannnnnn 
iipnnnnnnn 

Fig.  117. 

9nnnnnBtxin 
Bannanmn 
nnnnnnann 
nnannnnnn 
nnnnnnnan 
nnnannnnn 
□nmannna 
Bnnnaannn 
lammnnnn 
1  9 

Fig.  118. 


For  lo-harness  one  regular  satin  is  derived  by  dividing  10  into  3  plus  7. 
Counting  off  with  3  gives  i,  4,  7,  10,  3,  6,  9,  2,  5,  8,  as  points  for  intersecting. 
The  design  for  it  is  illustrated  in  Fig.  119. 


lonnnnnnnann 
nnnnannnnn 
nannnnnnnn 
nannnnnnan 
nnnnnannnn 
nnannnnnnn 
nnnnnannna 
nnnnnaannn 
Dnnannnnnn 

iBunnnnannn 
1  10 

Fig.  119. 


28 


jimnnnmBdna 
nna«nnunnnn 

3nnnnn«nnnn 
3n«nnnnannn 
nnnSnnnnnBn 
nnnnnannnnn 
nannnnannnn 
nnnnnnnnBnn 
nnnnannnonn 
lannnnnnnnnn 
1  11 

Fig.  I20. 


For  ii-harness  four  diffenent  perfect  satins  can  be  designed,  by  dividing  the 
1 1  in  2  plus  9,  3  plus  8,  4  plus  7,  5  plus  6. 

The  "  counter "  most  frequently  used  for  the  1 1  harness  is  4,  giving  the 
points  for  intersecting  as  follows  :  i,  5,  9,  2,  6,  10,  3,  7,  1 1,  4,  8. 

The  design  for  it  is  illustrated  in  Fig.  120. 


wnnnnnanannnn 
nDnnnnnnnn«g 
nnn»anannnai3 
nnnnnnnnMonn 
nannnnnnnnnn 
nnnmnBnnmn 
□nnnnnnnnnnM 
nnnn»nnnnnnn 
□□nnnnnnnMnn 
finagnnannnnn 
nnnnannmnann 

iBmnnumnnnn 
1  12 

Fig.  121. 


isnnnnnnnaMnmn 

nnnnnnnnnnn«n 
nnnn-  .'□■□nnnnn 
□■□□nnnnnnnnn 
nnnnnnnmannn 
nnnnMnnnnnnnn 
□nnnnnnnnnncB 
nnnnnnnannnnD 
noBnnnnunnnnn 
nnnnnnnnnuBnn 
unnnnBonnnnnn 
iBnnnnnnnnnnnn 

1  13 

Fig.  122. 


i4annnnnnnnMnnnn 
nnnnBjnnnnnnnn 
nnnnunmnnnnoB 
nnnnnnnnannnnn 
nnnBnnmnnnnnn 
nnnnnnnnnnnnBn 
nnnnnnnMnnnoDo 
nnBnnnnnnnnnrrn 
Dannnnnnnnn«na 
nnnnnnMonnnnnn 
nannninannnnnnn 
nnnnnnnnnnannn 
nnnnrjBnannnnnn 

iwnnnannnnnnnnn 

1  14 


For  i2-harness  only  one  perfect  satin  is  found  by  dividing  the  12  into 
5  plus  7.  Counting  off  with  7  gives  the  points  for  intersecting  as  follows: 
I,  8,  3,  10,  5,  12,  7,  2,  9,  4,  II,  6. 

The  design  for  it  is  illustrated  in  Fig.  121. 


For  ij-harness  we  find  five  different  perfect  satins  by  dividing  the  13  into 
2  plus  II,  3  plus  10,  4  plus  9,  8  plus  5,  6  plus  7. 

Counting  off  with  (the  number  most  frequently  used)  5,  we  find  the  in- 
tersecting points  to  be  i,  6,  11,  3,  8,  13,  5,  10,  2,  7,  12,  4,  9. 

The  design  for  it  is  shown  in  Fig.  122. 


For  i^-harness  we  find  two  perfect  .satins  by  dividing  the  14  into  3  plus 
1 1,  and  5  plus  9. 

The  design  most  frequently  used  for  this  number  of  harness,  and  which 
is  illustrated  in  Fig.  123,  is  derived  by  counting  off  with  5,  as  follows:  i,  6, 
II,  2,  7,  12,  3,  8,  13,  4,  9,  14,  5,  10. 


Fig.  123. 


isauuuunmnnnBtxin 
nnnannnBnnnnnnn 
nnnannnnnnnnnnn 
□□nnnnnnnnnnnn« 
nnnmnnnnnannnn 
nnnnnaMonnnnnnn 
nnannnnnnnnnnnn 
nnnmannnnnnn«n 
nnnnnnnnnMmnnn 
nnnnnBunnnnnnnn 
nB^nnnnnnnnnnnn 
nnnnnnnnnnnnBHc 
nnnnnnnn  Mnnnnnn: 
nnnn«nnnnnnnnnn 
i«nnnnnnnnnannnc 
1  It 
Fiv,-.  124. 


i6dannndnnnannn»na 
nnnn  :nnnnnMnnnnn 
nnnnnnnmnnnnnnng 
nnnnannnnnnnnnnn 
nanonnnnnnnnnnnn 
nnnnnnnnnnnnnnmn 
nnnnnnnnnnn»nnnn 
nnnnnnnnmnnnnnnn 
nnnnnannnnnnnnnn 
nn«nnnnnnnnnnnnn 
nnnnonnnnnnnnnnji 
nnnnnnnnnnnnannn 
nnnnnnnnnannnnnn 
nnnnnaBnnnnnnnnn 
nnnannnnnnnnnnnn 
iMUonnnnnnnnnnnnn 

1  16 

Fig.  125. 


For  lyharncss  three  different  regular  satins  can  be  made,  as  1 5  can  be 
divided  into  2  plus  13,  4  plus  11,7  plus  8. 

The  number  most  frequently  employed  for  counting  off  is  4,  which  gives 
the  points  for  intersection  as  i,  5,  9,  13,  2,  6,  10,  14,  3,  7,  11,  15,  4,  8,  12. 

The  design  for  it  is  found  in  Fig.  124. 


For  16-harness  three  different  satin  weaves  can  be  designed  by  dividing 
the  16  either  in  3  plus  13  or  5  plus  1 1  or  7  plus  9. 

Using  the  number  most  frequently  employed  for  counting  off  the 
points  for  intersecting  warp  and  filling,  which  is  3,  we  find  i,  4,  7,  10,  13, 
16,  3,  6,  9,  12,  15,  2,  5,  8,  II,  14,  as  represented  in  design  Fig.  125. 


After  the  method  given  thus  far  for  finding  the  different  satins  from  the  lowest  number  of 
harness  (the  5-harness)  up  to  the  16-harness,  it  will  be  easy  for  any  student  to  find  the  different 
satins  for  any  number  of  warp-threads  in  repeat  (harness)  that  may  be  required.  Those  given  in 
our  lecture  will  comprise  those  most  frequently  used. 


29 

Table  for  finding  the  Satin  Weaves  most  frequently  used. 


Number  op 
Harness. 

SUCCESSION  OF  STITCHES. 

Number  for 
Counting 

OFF. 

5-harneSS... 

3- 

5- 

2. 

4- 

1 

2. 

6  " 

I. 

3- 

5- 

2. 

6. 

4- 

0. 

7     "  - 

I. 

3- 

5- 

7- 

2. 

4- 

6. 

2. 

1 

8  " 

^• 

4- 

7- 

2. 

5- 

8. 

3- 

6. 

3- 

9  " 

I- 

3 

5 

7- 

9- 

2. 

4- 

6. 

8. 

2. 

10  " 

I. 

4- 

7- 

10. 

3- 

6. 

9- 

2. 

5- 

8. 

3- 

II  " 

I. 

5- 

9- 

2. 

6 

10. 

3- 

7- 

II. 

4- 

8. 

4- 

12  " 

I. 

8. 

3- 

10 

5- 

12 

»7 

I- 

2 

9- 

4- 

II. 

6. 



■ 

7- 

13  " 

I- 

6. 

II. 

3- 

8. 

13 

5- 

10. 

2. 

7- 

12. 

4- 

9- 

5- 

14     "  ... 

I. 

6. 

II. 

2. 

7- 

12 

3- 

8. 

13- 

4- 

9- 

14. 

5- 

10. 

5- 

15  " 

I. 

5- 

9- 

13 

2. 

6. 

10. 

14. 

3- 

7- 

1 1. 

15- 

4- 

8. 

12. 

4- 

16  ' 

I. 

4- 

7- 

10. 

■ 

13- 

16. 

3- 

6. 

9- 

12. 



15- 

i  ^ 

5- 

8. 

II. 

14. 

1  ^' 

1 

Fig.  126. 


Influence  of  the  Twist  of  the  Yarn  upon  Fabrics  interlaced  with  Satin  Weaves. 

To  produce  certain  effects  on  fabrics  interlacing  on  a  satin  weave  the  same  may  require  a 
certain  twist  of  the  warp  or  the  filHng,  or  in  both  systems.  Fabrics  made  on  a  satin  weave  may 
for  their  effect  require  the  satin  twill  to  be  more  or  less  visible ;  again  it  may  be  desired  to  see 
none  at  all.  Therefore  in  all  cases,  before  deciding  as  to  the  direction  and  amount  of  twist  to  be 
put  in  the  yarn  for  any  kind  of  a  fabric  to  be  made  with  a  satin  weave,  we  must  consider  whether 
the  face  is  to  be  formed  by  the  warp  or  the  filling  and  whether  the  .satin  twill  is  to  be  visible  or  not. 

For  example:  Take  a  fabric  to  be  made  with  the  5-harness  satin.  If  we  have  to  use  warp  for 
face  and  want  the  satin-twill  effect  distinct,  we  must  use  the  design  shown  in  Fig.  104  with  a  warp 
yarn  twisted  to  the  left.  If  we  want  to  produce  a  fabric  requiring  a  smooth  face,  as  doeskin, 
kersey,  beaver,  etc.,  and  have  the  warp  yarn  twisted  towards  the  left,  we  must  u.se  the  design 
illustrated  by  Fig.  108. 

Arrangement  for  Commencing  the  Satin  Weaves  for  Special  Fabrics,  such  as  Damask 

Table  Covers,  Towels,  etc. 

In  fabrics  where  "  warp  up  "  and  "  filling  up "  satins  are  figured  as  in  previously 
mentioned  fabrics,  we  have  to  change  the  commencing  of  the  weave  from  the  beginning 


30 


with  one,  so  as  to  get  a  perfect  joining,  respectively  cutting  off  from  the  warp  effect  to  the 
filling  effect. 

In  this  class  of  fabrics  the  weave  must  commence  in  the  following  manner :  The  last 
warp  and  filling  thread  of  one  effect  must  work  in  an  opposite  direction  to  the  commencing  of 
the  first  warp  and  filling  thread  of  the  other  effect.  Hence  the  5-harness  satin  for  such  fabrics 
will  be  4,  I,  3,  5,  2  (see  Fig.  127;.  The  8-harness  satin  will  read  3,  8,  5,  2,  7,4,  1,6  (see 
Fig.  128).    The  lo-harness  satin  7,  10,  3,  6,  9,  2,  5,  8,  i,  4  (see  Fig.  129),  etc.,  etc. 

•  ■■■■□■■■■naaaa:.a  :  .  -■■■■□■nnanBnnnn«nnnr;BB)i»n«nunn 

DMBMnaaaanaMiH. :     :■  jaaaBanDaannDnHnnncanaaaHnmna 
■aanaaaanaaaaaa.  .a    ,  Baajanannnnannnnannriaaananannn 
■□aaaa.jaaaanaaa  :    a.  .a,  .aaannaannnnannnnananaaanDnMn 
■BaajaaaBaaaaa..:a._.  .BBBanBnannannnnBnnnnBBBanBnnnn 
■anaaaanaaaaijaa    a  .aanaannanLinnaannnannaanaannann 
□aaaanaaaBijaaaa  ,  .  .;.jB  ■BBBanDmaDnnnaunnnaDBBBBnnnnB 
■fla::iflBBajaaaa:.ia.  .a.  i.  ....aaBL,B:aB:ann:~BnnnnBnnnaBBnBDBnnn 

l:~.-e.':.     .a.  .  ...  .a..a^.aaa  ..j.^a  a  aaBaL;Baaanaaaji:::;aLa_iBBB 

Haauaaii3j:jBanaLjaaaa_.BaunuBBBBnBaaarjBBBBnBncnnBaBBn 
naHnnajaanrinamaanaBLiijBnnBanaBBBnaaBBnaBnnannBarjBB 
nnunaana.:a_aana;:aaaaau;  ir.;a:jaBaa\Baaa-:aaaa: :;  :naanaaBB 
nBmnr.a::.:  iaanaaaa  aaa' 'aaa:  :aBaB' :Baaa  a. -a: 'r'aaa:  la 
BaBaaajaaaBJBBB. .a.  .a  .aaa.  :  . -a  .a  ;b  a:  aaa:  : .an 
■BBBaaaafljaBaana  \  .aaaa.  .a^^a: :  a  .  .  :b  :  .  :aaaB.^a 
■BaBBBajBaaaaaa. ;  a    ;aB..jaa:JLJa:  : :' 'b  .a..i:jBaLjaaDUBDD 

naBBBnaaBBuaaaa. ;    .  .a  :aBBB:a'a: ::  a  a    :  :BnBBBBnDDnB 

BBBaBBBBaaBBaaa.  .a..i  .  .aaaQa:n!j' ^a  a^  ;nnBBBDanBDnn 

nnnannnnaaaaaaaa^aaB,  :aaBaBflaB:  .aaBB,._aaBnnnanaDBBB 
Bnnaaaanaaaa'jajBBBB.  m\::  :  iBBBanaBaBDaBaanBnnnDBBBan 
nnBiinu:]Baa_j-_;ajuaa:_;aB.  1.  ;a' :,  :aanaBBanBBBBnBBnnBnDaBnBB 
anj::a:~:najB.ju;.:aB:  jaaaa  M.^aaBBBBnaaBBnaaBannnDBDaBBB 
nanL:: :  '  " :  :  :■:  iBjauaBanBBBBDBBBBnanannnBBBDB 
nuaa. .  a  a  a.  aaa  :uBnBaBBBBLJBBBanaBBnnnBaBcaBB 
annu^^B  .  a  .  , iaaaa  ^.BjnnnBBaanaaBBnBBBanBnnnnaBBBn 
pnB:;::;.j.^a,  ._j_j"^a.  jaaa...aa.^L]Bai]BBaBBBBnBBBBnBa^'i"B:"T:  ;bbdbb 
□aanaLinJna-j-ja:  jBLUBaBBunnnBnBBBanBBBBnBBBa-  -  - ::  -b;  ;bbbb 
nBnannanziaaannuBBanBiaBnnaBBBnBBBBnaBBBr.-a:  a  :aaBDB 
DnaBiinnnBaaanBjaaaaa;~:anBaanBBBanBBBBaBBa  : :.  ■  aaaaa 
■□aaaBnaananMnnaaaa  a*  r  ~: ;  :aaaanBBBBnBBaai  .a  a  ;^aBBBU 
paflnaaaBaaaDBaaaa.  aa  ...a.  aa  ;aBaBaBBBBr:afl'  a  . -bbdbb 
□□□□Baanaaannna:  .aaaa.  i. .  I.. :a  :BaaanaaaBnBBaa  ! .bdbbbb 
nflnaaaBaanaannnaaa  ^a  :a  aaa'  aaaa:  :aaaB  a.  :a';j:jaBBBaB 
BaBBBBaaBflanaBB;  i. ,  a  ;a:jaaa  ..a  ■  m  a  a  JBBBmnBn 
BBBBaaBBBnaflBana  ^ ..  :  mnwm  aaa  :  BaaanBDnna 
flBaaaaanflBBaaaa:  :ria^.  :aa.  iBB  a  a  a  .:.^aanBBnnBnn 
nBBBaaaaaanBBaanaaaaaaaaa..:  a  :  a  i  iBaaaaanDDnB 
BBBnaBBB'jaBBBaaaaaaaaBaaB;  a  a  a  anaaanaDannn 
nnnBuaanannanB^BnBBB;juija'ja..,aaaB.  :aaaa.  .aaaaanBaBnBBB 
BaannBaaaaaanaaaBBBaBaaaaBaBBaBBBaaaaaBnBpnnaBBBBn 
DaBannnBnDaaBaaaBaBaaaBaaaanBBBBnaBBBnBBaiSBnnaBnBB 
nnnnBnmaBaaanauBBBBaanaBnBBBBnBBBBnBBBBannnanBBBB 
□BnnanflaaanBanaflBBaBnflnnaBBBnBBBBnBBBBnflaflDDDBBflnB 

Fig.  130. 


annnnann 
ananaaan 
nnaaaang 
naanaoBt!] 
nanaaann 
nnaaaaaq 
nnnanaai 
nnannnan 

Fig.  128. 


nanannnnnn 
■annaaaann 
nannanaaaa 
□aaaaaaaan 
naaaaaaaaa 
nanaaanaaa 
naaaaaaaaa 
naaanaanaa 
□nnaaaaana 
nnnnaaanaa 

Fig.  129. 


Fig.  130  is  designed  to  illustrate  a  fabric  figured  with  the  5-harness  warp  and  filling  satin, 
and  Fig.  131  is  designed  to  illustrate  the  figuring  applied  to  the  8-harness  warp  and  filling  satin. 


.  .  iBBaBrMBaBBaanaaannnnaaaBan 

 iBBBaBaBBBaaaaaaaaaanBanaaann 

jiBBaaBBaBBBBaaaaaaaBaaaaanaBnDan 

SnaaaBaaaaaaaaaaaaaaanananannDBn 
BBBBBaBBaBaaaaaaBaanaaaDBaaaana 
■■■aaaaaaaBaaaaaaaaaHaaaaaanaaan 
aBBBBBaaaBaaaBaaaaaaanaBanaaaaaB 
BflBBBaaBBBBBaaBBaaBannaaaaflaDaaa 
■BnaaaBBBaaBBBaaaaaanBaaaaaanBaa 
MBBaaaaaBBaaaaaBaaaaaanBaaaaana 
■BBB jaBBaBaaaaaaaaaBaaaaaaaBaaan 
■nBBBBBBaaaaaaBaaaaaaaBnaaaaaaBa 
■BBBBBaaBaaaaaaaaBaaaaaaaaaannan 
■BBaaBBBBBBaaaBBaanaBaaaaanaBaDn 
nBBBaaBBaaaaBaaaaaaaaaaaaaaaaaaB 
■■BBaaaaBaaaaaBBanaaaaaanaaaaaan 
QaanaBaaaaaaaBaaBaaBBBBBaaaaBBBB 
BinanaaaaBaaaDaaaBBaaaBaaBBBBBBaa 
nnnBaaaaaaaBaaaaBBBaaaaBBBBaaaBB 
HnnnaaaaaaaaanaaaaaBaBaaaaaaaaHB 
nnnaaaaanBaaaaaaaaaaaaaBBBBBBBaB 
BanaBaaaaaaaBaaaaBaaBBaBaaariBBBB 
BnaaanaaaaaaaaaBaaaaaaaaaaaaaaBa 
naBaaaaaaaBaaaaaBBaBaaaBBaaaaaBB 
aaaaaBaaaaaaaaaaBBaBBBaaBBaBaaBB 
■aaaaaaaBaaaaanaBaBaaBaaBaaaaBaa 
nnaBaaananaaaaaaaBBaaaBBBBBaaaBB 
naaaaaBaaaaaaaaaBnBBBBaaBaBaaBBB 
nBaaaaanaBaaaaaaaBBaBaaBBBBBBBaB 
aaaaaaaaaaaaaaaaaaaaaBBaaaaaaaaa 
naaaaaaBaanaaaaBaaBBaaaBaaaaaaBB 
naBaaaananBaaaaaaBaBaaBBBBBBBaBB 

Fig.  131. 


Before  proceeding  with  the  construction  of  weaves  (derivative  weaves  from  the  previously 
explained  foundation  weaves),  we  will  next  treat  of  drawing-in  drafts,  followed  by  drafting  of 
weaves  and  reed  calculations. 


"  Drawing  in  the  Warp  in  its  Harness,"  and  the  preparation  of 

the  drawing-in  drafts. 

Description  of  the  operation— Methods  used  for  making  out  a  proper  drawing-in  draft- 
Different  systems  of  drawing  in  drafts. 

Drawing  the  warp-threads  in  the  Heddles  (which  are  adjusted  to  the  different  Harness 
frames)  forms  the  beginning  of  the  practical  part  in  weaving;  the  making  out  of  the  order  (or 
arrangement)  in  which  this  has  to  be  done,  constitutes  one  of  the  first  lessons  in  the  theory  of 
weaving  and  designing. 

THE  HARNESS. 

The  harness,  or  harness  shaft,  also  termed  a  shaft,  (see  Fig.  132)  consists  of  a  "  Frame 
(marked  A),  and  the  iron  rod  {B)  for  holding  the  heddles  {C).     Through  the  eyes  {£>)  of  the 
heddles  the  warp-threads  are  drawn  as  illustrated  hy  E. 

For  drawing  in  a 
warp  in  its  "  set  of  har- 
ness," two  persons  are 
required.  The  "  drawer- 
in"  inserts  his  "  drawing- 
in  hook  "  through  the  eye 
of  the  heddle,  towards 
the  second  person  called 
the  "  hander-in^  The 
latter  inserts  one  of  the 
warp-threads  in  the  ''eye 
of  the  hook,"  which  in 
turn  is  pulled  out  of  the  heddle-eye  by  the  first-mentioned  person. 


Two  different  systems  are  used  for  drawing-in : 
1st.  Indicating  the  harness  nearest  to  the  warp 
beam  as  the  first,  the  nearest  to  it  as  the  second,  and 
so  on  until  all  harness  are  used.  This  method  is  tech- 
nically known  as  "drawing-in  from  back  to  front"  and 
is  clearly  illustrated  by  Fig.  1 33. 

2d.  Indicating  the  harness  nearest  the  reed  as 
number  one,  the  nearest  to  it  as  the  second,  and  so  on 
until  all  harness  are  used.  This  method  is  technically 
known  as  "  drawing-in  from  front  to  rear,"  and  is  illus- 
trated by  Fig.  1 34.  (This  is  the  system  most  gener- 
ally used  in  this  country). 

Principles  of  a  Drawing-in  Draft. 

The  drawing-in  draft  must  clearly  indicate  the 


So 


-36xrivefsi- 


WarptfireacU"' 


Fig.  134. 
This  arrangement 


Fig.  133. 

rotation  for  drawing  the  warp-threads  in  the  heddles  on  the  different  shafts 
must  be  made  in  accordance  with  one  or  the  other  of  the  following  methods : 

A. — It  may  be  made  by  using  common  designing 
paper  and  indicating  the  rotation  by  marks.  In  em- 
ploying this  method  the  rotation  of  the  harness  must 
be  shown  either  by  numbering  the  horizontal  rows  of 
squares  which  indicate  the  harness  on  the  left  side 
of  the  draft  (see  Fig.  135),  or  by  placing  the  word  "Front"  on  the  proper  place  so  as  to  avoid 
any  misunderstanding  (see  Fig.  136). 

(31) 


8  nnpnmnmnnnnMnn 
7  nnnnnnnnnnnDMnMn 
6  nnnnnaunnnaBnnni 
„„5  nnnnnmnanBnnnSn 
"^4  nnnBnnnnninnnnnq 
3  □DBnMrjnnBnnnnnug 

1 Mnnunnnnannnnnnn 
Fig.  135. 


□uuuu«dnaann«n 

nnMnnnnnannnnS 
nnnnBnBnnnnBn« 

nanndnnnnMnnnn 
■nnnnnnnnnMnnn 

Front. 


Fig.  136. 


32 


H. 

V. 

3. 

3. 

3. 

3. 

3. 

Z. 

^. 

1. 

1 

— Another  method  is  by  using  the  same 
paper  as  before  for  the  draft  but,  in  place  of  the 
marks,  employing  numbers  indicating  the  harness 
to  be  drawn  on  (see  Fig.  137). 

C. — A  third  method  is  by  using  horizontally 


m 


Fig.  138. 


Fig.  137. 

ruled  paper  for  indicating  the  harness,  and  drawing  vertical  lines  indicating  the  warp-threads  on 
the  former.  The  stopping  of  the  vertical  lines  on  one  of  the  different  horizontal  lines  indicates 
the  drawing  of  the  different  warp-threads  on  one  of  the  different  harness.  The  horizontal  lines 
must  be  numbered  (see  Fig.  138). 

Different  Divisions  of  Drawing-in  Drafts. 

Drawing-in  drafts  are  in  general  governed  by  the  different  weaves  for  which  they  are  used, 
and  are  divided  into  "  Straight  Drawing-in  Drafts  "  and  "  Fancy  Drawing-in  Drafts." 

Straiglit  drawing-in  drafts  are  those  in  which  the  heddles  of  the  different  number  of  harness 
the  "set"  contains  are  used  in  rotation;  and  after  the  last  is  used  the  first  is  employed  over  again 
until  all  the  warp-threads  are  taken  up.    For  example,  in  4-harncss  we  commence  to  draw  in : — 
The  first  warp-thread  on  the  ist  heddle  on  the  ist  harness. 


The  second  " 

1st  " 

"  2d 

it 

The  third  " 

1st  " 

"  3d 

i< 

The  fourth  " 

1st 

4th 

i< 

The  fifth 

1< 

2d 

1st 

<( 

The  sixth  " 

2d 

"  2d 

i< 

The  seventh  " 

2d 

"  3d 

X 

The  eighth  " 

H 

2d 

4th 

>( 

The  ninth  " 

ii 

3d  " 

1st 

i( 

and  so  on,  until  every  warp-thread  the  warp  contains  is  taken  up. 

Fig  1 39  illustrates  the  double  repeat  of  a  4-harness  straight  drawing-in  draft. 
Fig  140  illustrates  the  double  repeat  of  a  6-harness  .straight  drawing-in  draft. 


V.W.  □:  •Mlji  I 
Pront. 


enngnnMuiJUDDM 
snnnnannnanBg 

nSSnomn 


Fig.  139.  Fig.  140. 

Fancy  draiving-in  drafts  are  generally  used  for  reducing  the  number  of  harness  necessary 
(repeat)  for  producing  a  certain  kind  of  weave  in  a  fabric.  In  looms  constructed  for  certain 
classes  of  goods  (mostly  in  cotton)  and  which  can  be  operated  only  on  plain  and  common  twills 
with  regard  to  their  motion  for  raising  the  harness,  the  fancy  draws  will  often  become  a  necessity. 

The  method  of  making  out  fancy  drawing-in  drafts  for  certain  weaves,  technically  known  as 
"drafting,"  will  be  dealt  with  later  on. 

Sub-Divisions  of  Fancy  Drawing-in  Drafts. 

A.  Broken  draws. 

B.  Point  draws.  y 

C.  Section-arrangement  draws  (ist,  plain,  2d,  double). 

D.  Skip  draws. 

E.  Mixed  draws  (cross  draws). 

,  A.^ — Broken  Draws. 

Drawing-in  drafts,  graded  under  this  division,  have  their  method  of  drawing  arranged 
(similar  to  the  principle  ofthe  satin  weaves)  as  much  as  possible  broken  up,  scattered,  yet  regularly 


33 


distributed  over  the  repeat  of  the  draft.  We  also  classify  under  the  present  division  of  drawing- 
in  drafts  such  as  are  necessary  for  producing  broken-twills,  t.  c,  in  which  we  draw  for  a  certain 
number  of  threads  from  front  to  rear;  next  arrange  the  draw  to  miss  one-half  the  number  of 
harness,  and  draw  a  certain  number  of  threads  (as  required  by  the  design)  from  rear  to  front; 
next  miss  again  one-half  the  number  of  harness,  and  commence  again  to  draw  from  front  to  rear. 
For  example:  Fig.  141  illustrates  a  broken  draw  for  8-harness.  Commence  to  draw  harness  i  to  8 
straight  through  from  front  to  rear  twice  over,  next  miss  one-half  the  number  of  harness  =  4_ 
thus:  8  —  4  =  4;  commence  on  harness  4,  to  be  followed  by  3,  2,  I,  8,  7,6,  5,  4,  3,  2,  i,  8,  7,  6,  5 ; 
next  miss  again  four  harness,  giving  you  harness  i  for  starting,  to  commence  to  draw  from  front 
to  rear  over  again  (repeat  in  the  present  example).  snnnnnnnBnnnnnnnBnnnnBnnnnnonMnnn 

The  present  division  of  drawing-m  drafts  finds  exten-  Bnann-nnnnmn.mnmnnn.nm 
sive  use  in  the  manufacture  of  fancy  worsted,  woolen  and  mSSBmBBHSgBHBBgSBBBBBBgSHBBBHB 

cotton  goods.    On  looms  known  as  "  roller-looms,"  iSgBBBBBBSSBBBBBBBBSyBBBBBBSSBBBB 

"cam-looms,"  this  system,  of  drawing-in  drafts  forms  the  ^^i- 
only  means  for  weaving  satins,  corkscrews  and  similar  popular  weaves. 

Fig.  142  illustrates  a  broken  draw  for  4-harness. 


143 
144 


5 


2nBnnnBnn 


Fig.  142. 


snndBnuLiLiBU 
sannnannonB 

iBDnnnannnn 
Fig.  143. 


snnannHnnnnnnnMnn 
aDBDnnnnnnMnnnnn 
nnnnnnnannnnDnnB 
annnannannnnMnnn 
aannnnnnnannnnnn 
annnnnBnnnnnDn«3 
annannnnnnnannng 

iBnnnnpnnBDnnnnnn 

Fig.  144. 


-Point  Draws. 


harness,  and  afterwards  draw  from  rear  to  front  and  repeat 
B  B 


In  regular  point  draws,  we  draw  from  front  to  rear  once  straight  through  the  entire  set  of 

For  example  see  Fig.  145.  Com- 
mence to  draw  in  from  the  first 
harness  straight  through  to  the 
last,  A  to  B,  and  back  again, 
B  to  C.  Designs  for  these  draw- 
ing-in drafts  must  be  arranged  so 
as  to  repeat  forwards  and  back- 
wards respectively  in  the  centre. 
Such  a  weave  will  run  upwards,  at  a  given  angle,  to  a  definite  point;  then  it  will  return  by  the 
same  angle  in  an  opposite  direction  until  it  reaches  the  base  from  which  it  originally  started.  In 
these  kinds  of  drawing-in  drafts  the  "  point- harnesses"  are  only  once  drawn  on,  while  the  other 
harnesses  are  used  twice  in  one  repeat  of  the  weave.  Hence  an  8-harness  regular  point  draw 
will  require  14  warp-threads  for  one  repeat;  a  12-harness  regular  point  draw  will  require  22  warp- 
threads  for  one  repeat,  and  so  on  ;  always  giving  the  double  number  of  harness  less  2  as  the 
number  of  warp-threads  in  one  repeat. 

Fig  146  illustrates  a  double  repeat  of  a  regular  8-harness 
point  draw.  Warp-threads  1,8,  15,  22  are  the  point-threads 
or  the  warp-threads  which  are  drawn  in  the  heddles  on  the 
point  harnesses. 

A  change  from  the  regular  point  draw,  but  belonging 
in  its  principle  of  construction  to  it,  are  drawing-in  drafts 
in  which  we  draw  in  one  or  the  other  direction  (front  to  rear  or  rear  to  front)  continually  for  two, 
three,  four  or  more  times  before  changing  to  the  other  direction. 


snnndnnnBnnnnnnnonnnnnBnnnnnn 
nnnnnnBnBnnnnnnnnnDnMDBDnnnn 
nnnnnBnnnMnnnannnnnBU'i'xi«annn 
□nnnBnnnnn«nnnnnnnBDnnnn«anB 
3nnBnnnnnnnBnnnnnBnnDPDan«nn 
3DMnHnnnnnnn«nnnBnnnnBnnnnBB 

lannnnnnnnnmnnMnnnSnnnnnnnnn 

I  8  15  22 

Point  Warp-threads. 
Fig.  146. 


34 


ennnmHdnnnaHnnmnBnnnnnannnBmnnnHnnnnnHnnnn     ^^S-  H/  illustrates  a  specimen  of  these 

nnnBaannnBnannnnnnnBnnannHnjunnBoaLannMnnLjann  Kina  oi  araits  to  oe  maae  wun  o-narness. 

n«anannBuanan«annnanaMnBannnaBnannnBnannnaaB  An  examination  will  snow  us  a  drawinsr 
iBannnn«nnuunBnnnannmn«nnnnnBnananBnannnnnnn  ,     ,        .       ^       ^  f 

Fig.  147.  straight  three  times  from  front  to  rear  with 

an  additional  from  rear  to  front  (two  repeats  shown  in  draft).    A  second  sub-division  of  the 

point  draws  are  point  draws  containing  the  effect  of  a  zigzag  which  are  used  to  a  great  extent  in 

weaves  for  fabrics  imitating  Jacquard  work. 

Fig.  148  illustrates  such  a  specimen  drawing-in  on  12-harness. 

□nannnnnaanannnnBnBnnannnnnnapnnnnnnnnnnnnaxinmnnnnnnnnnnnnnnBnBannnnnanacnnnnn 
DnannnnnnnamnnBannBaandnnnnannnnnnnnnannmmDnnnnnnunnnnnnnnBnnnBn-nnnannnnunnn 
nnaaaanannanaaBaaaaaBaaaaannaauaaaaanaanaaanananaaaaaaanananBnnaanBrjaaaaaannanaa 
nnaananBaananBaanaaauBaaanaBaaaannaaaanannanaananaaaaBnnannBaaaaaanBaaaapBaaanan 
nnnanaBaBannBaaaaaQnnaBanaBaBannaaaaaaaaaanaananananBnBaaaBannnnaaanBaanBaBanaan 
nnanaBannBnBaannnnnaoaaBnBannBaannannnanaaaaaaaannaBaaaBaBaaannaaaaanBCBanaBanan 

BaaaBananaBannananannaaaBaaaunBnanaaaaaaaaaaaaaaaaBaanaaBaaaanaaaaanaaBaaaaaBaan 
nnBaanaaaannaaanaannanaaaaanmBaanaaBaannaBnamnBaananannnnannaannnanna:::aannBna 

gnBaaanaananaaaaanaaanaaaaaaannnBnnaBaBaauBaBnanBnnnnaaannnaaaananannnaaannnaaBn 
BnnanaanaaaaaaaannaaaaaaaanaanaaBaBaaaBaBanaBnBnanaamnnaaannnnaaaaaaanmaaaanB 
nnnnnnnnnnnnannnmnnnnnaanannnnaaBnnnnaBaaanaBPananncnanijnnnnnnnmnaannDncinnnan 


Fig.  148. 


C. — Drawing-in  Drafts  having  a  Section  Arrangement. 

1ST. — Plain  Draw. 


r  I2namnantidaannndmuuumu®i3nnnniaannda0dnannnnnann:nnnnnnaannanis)nnaaa0nannn® 
I  dadBdnddndaaadandandnD®ddada©nddad0aaddBaaaDaaaaaadaaaDaaa@Lidandt:yuaand®B 
2d  set  J  BnnannanaddUdddaaadda®addad®aaaaafc(aannaaaanuanndnaddnanLjatyaaana&aLjaan©nn 
za  sei.  <  3nnnanadaadaaaaaaaaa0aaaan@ndnan©naaaaanaanaaaaDdanBaLidd©acudD&addad©dnQ 
i  nddadauBaanaaaaaaaa0ndaaa©aaddd@dadaaddanadnadadadanndnfc)aaaaa©aadaa©ana3 
V.  7nddddddaaaaaaaaada©aaadD©naada©ndnadannDanaadaddadddaa©aaaud©adaad©adddn 
(  eannddBnaaaaBaadanBaaadndndnDdaannaaadddndBddadnBdadnnBnndaaaaaddnanddddn 
I  ddaaBadadaBdddaaBaadndnddndnnndnaaaaaaadBdDdndBadadaBaaaaadndaddddndnddD 
1st  spt  J  ndnBaaaaaBaaaaaBaaaaanaaanaaaaaanaduaadBdndadBdnudaBaaddaaaaaannndddadnn 
isi  set.  <  ndBaddadBanadaBaddaddanddddddaBnaddaaaBaaadaBdadaaBaananaaadaDi3aaaandadQ 
J  nBddddaBaaaddBddaaaaadddaddddddndnddDBanadnBnnnadBandaandnadadaaaadadnan 
V  iBPddanBnannaBddpnaannanppnndPPnnnnpPBnnnnaBapaapBapapapaaaaaddPPDddaDddd 

Fig.  149. 

These  drawing-in  drafts  are  used  to  a  great  extent  in  the  manufacture  of  damask  table 
cloth,  towels,  fancy  cassimeres,  worsteds,  etc.  For  these  styles  of  draws  two  weaves  are  com- 
pounded into  one,  each  one  being  operated  on  its  own  part  of  the  harness  set.  The  manner  of 
using  two  sections  we  find  frequently  extended  to  three  or  more  sections,  requiring  a  correspond- 
ing number  of  weaves  to  be  compounded  into  one. 

In  Fig.  149,  we  illustrate  a  specimen  of  suclb  a  kind  of  drawing-in  draft.  Harness  I  up  to 
6,  inclusive,  forms  the  first  set;  harness  7  up  to  12,  inclusive,  forms  the  second  set. 

2ND. — Double  Draws. 


These  drawing-in  drafts  are  generally  used  in  weaves  for  double  cloth  fabrics, 
system  of  warp-threads  (face  and  back)  getting  its  own  harness  set. 

r  i6addddduuuuuduuuuuuuuLid©dddddndddddddddddndddddii>i: 
npadaddadddndaddddn0addddudPdddPdddddaapddd©ddd : 


Each 


dmdddi 
'idddddt 


2d  set. 


Iddd 

ionn 


ddddddi  

dddddddiadddddddi 


ddddi 

9d®l  


sdddd: 


dddddddg 


dddd®ddd 


ndddddddd! 


,  ddddPddddBddadaddddddBBndDddddPddBPdppppnPddPBdn 
ddddddddBnddddddddddBddnnndddddDBaddndddDdddBpdd 
1st  set  ddddndBddaaaddddddBdddnffldddddBdddddddddddBddddn 
isisei.  ,  dddadBnddaadaaaddBdmdnddddddBaadBdddndnaBnaaBdB 
ddaBdadddddddddBdddddddddddBddddddfiddddBnaaaaagd 
BaBaadddddddddBddPddddddndBadddddnddddBdaaadPdpB 
V  iBnnnnnnni  11  iitiiannnnni  11  innnnMnnnnnnniinnnBnnnnnnrn-innfi 

Fig.  150. 

Fig.  150  illustrates  a  drawing-in  draft  to  be  classified  in  this  system,  ist  set  of  harness,  I,  2, 
3,  4,  5,  6,  7  and  8;  2nd  set  of  harness,  9,  10,  II,  12,  13,  14,  15,  and  16. 


npdPPdDnPddddadandlpnaada: 

 ddandddPpnDdddn@ppnnpncaa 

d®dnddddddddddddndaaddddd®ndddadddndad 
 -,ddddddnndddp®dddddddnnddDndd: 


ddnddddddiioBDEnddddddndd 

 sti  gj_  


dddddmnddddddnndddiadddddddddddnnddnnaaddd 
"dddnBddddPdPddddBPddddPdPPddBdddPBdaBmn'" 

„  „.  fcl  Q  .  


idd: 


2d  set. 


Fig.  151  illustrates  another  specimen  of 
drawing-in  draft  for  12-harness  repeat. 


i2ddddaddiddddddd@dddddnd0dddddddi§ 
npadd@dddddnn©npdPdddldPdddDn®ian 
ddd0dddaaaa©ddaaadd®dadaddd®ddnQ 
9n®nddddaa©aaadddd@dnddddd©ddddng 
sdddddddnnaddndBddddaddddadddddBd 

HaddaaaaaaddBdddddddQdddddddBddd 
ddddnadddBanddamdndddndaBddndd 
ddddddddBndaaaddaddddaaaBPpnadpn 
DddddBBopdnndadddaaaaaBdui  11 11  idarn 
IdddBddSdddaadddaaddBddnndandddn 

 adddddBdddddddnddddQ 

adddBdnndddddddddaSd 


BaBPddddddPnddddddBddddddPddc 
iBdddnddddddddr^  


F~iG.  151. 


35 


D. — Skip  Draws. 

These  draws  are  in  their  origin  short  straight  draws  in  a  larger  number  of  harness.  After 
drawing  a  certain  number  of  warp-threads  plain  straight,  commence  anew  again,  but  one,  two  or 
more  threads  higher  or  lower  than  the  commencement  of  the  preceding  draft. 

Fig.  152  illustrates  such  a  drawing-in  draft  for  8-harness,  4  threads  for  the  short  straight 
draw ;  skipping  one  thread. 

snnnnnnmnnnnnnnnnnnBnnMnnHnnBnnnnnnnnnnnannnmuuunnBnnMmBnnBma 
nnnnnnnannnnnnnBnnBnnBnnBnnnnnnnnnnnnnnnnnnnnnnBnnBnnBnnBnnnunar 
nnnnnnnnnnnBnnBn-Bnn«nnnnnunnr:nnnnnpnnnnnnn«nn«nnBnnB.-::anr;nnnaani; 
nnnnnnnBnnMnnHnnBnnnnnnnnnnnLjnjnnnnnnnnBnnMnn«nnBnnnnnnnaDnnnnnc 
nnnBanBnnBnnBnnaannnunnnnz^nnnucnnnnBnnBnnBnnBnnqnnnnnnunnnnnnnnt: 
HnBnnBanBrjnnnnnuauunnrinrjij-jnnnr.GBnnBnnBnnBnnnnnnannnannnnnnnnnnnB 
nBuaBnnnnnnnnnnnnnnnnnuLinnnBnnBanBnnBnnnnnnnnnnnnnnnnnnnannBnnBn 

iBnmnnnnunnnannnnmnnunBnuBnrjBnnBnnnnnnnnnnnnnnmnnnnnnBnnBnnBnn 

Fig.  152. 

E. — Mixed  or  Cross  Draws. 

As  the  variety  of  different  weaves  is  unbounded,  so  are  also  the  drawing-in  drafts,  and  under 
the  above  heading  it  is  proper  to  classify  the  kind  of  drafts  obtained  in  one  way  or  another,  by 
combining  two  or  more  drafts  of  the  previously  explained  systems. 


Other  Points  a  Drawing-in  Draft  may  require  in  addition  to  the  indications  for  Drafting 

a  Certain  Harness. 

If  a  warp  contains  threads  of  different  thickness,  color,  or  quality  of  stock,  the  drawing-in 
draft  must  have  a  copy  of  the  repeat  of  pattern,  clearly  indicating  for  each  warp-thread  such 
=     particulars  (see  Fig.  153  for  illustration.) 
.    g  .     t  The  drawing-in  draft  should  further  show  the  number  of  warp,  the 

number  of  dresser,  the  number  of  ends  in  warp,  the  number  and  width  of 
reed  to  use,  the  number  of  warp-threads  to  be  put  in  one  dent,  instruc- 
tions if  any  threads  in  particular  have  to  be  separated  by  the  dents  (see 
Fig.  1 154),  and  the  number  of  heddles  to  be  put  on  each  harness. 

Every  one  of  these  points  clearly  indicated  on  the  draft  will  greatly 
assist  in  the  production  of  correct  work,  prevent  mistakes  and  save  much 
time.  We  append  a  specimen  sheet  of  a  complete  order  for  the  drawing-in  department,  such  as 
ought  to  be  used  in  every  mill. 


snnnnnnBnnnnnnnBn 
nunnnnnBnnnnnnnB 

BnBnnnnnBnnnnnan 
□□BnnnnnBnnnnnn 
nnnnBannnnnnnBng 
nnnnnBannnnnBnnd 
nBnnnnnnnnnBnnnn 
iBnnnnnnnnuBnnnnn 
Fig.  153. 


Specimen  of  a  Complete  Drawing-in  Sheet. 

Fancy  Cassiniere,  style  ^2. 
Warp  No.  393.    3600  ends  in  warp.    Reed  13  x  4  =  69^  inches  width  of  warp,  in  reed. 


Dressing  :    6  threads  black    4  run. 
D.  N.  4.  I      "  white 

7  " 
I 

7  " 

2  " 


white  " 

black  " 

lavender " 

brown  " 

12 
n 

blue  " 

10 
9 

8 
7 

in  pattern. 

6 
H 

3 
I, 

Selvage :  40  threads  i  inch  wide  in  reed  for 
each  side. 


Black.  ^  Brown. 


Brown.  Blue. 


Fig.  154. 


36 


Heddles  required  for  the  different  harness  : 

Numbers  i,  3,  4,  9,  it,  each  300  heddles  =  1500 
Number   2,  requires  750      "       =  750 

"        5,       "  600      "       =  600 

Numbers  6,  7,8,  10,  12,  each  150      "      =  750 


3600 


Having  explained  the  general  principles  of  drawing-in  drafts  for  theoretical  and  practical 
work,  also  their  classification,  the  next  subject  for  the  student  to  learn  will  be  "  the  drafting  of 
drawing-in  drafts  "  from  the  different  weaves. 

Drafting  of  Drawing-in  Drafts  from  Weaves. 

Rule  :  Ascertain  the  "  repeat "  of  the  weave  in  the  direction  of  both  systems  of  threads. 
Next,  examine  each  warp-thread  separately  (on  the  design)  as  to  its  rotation  of  interlacing  in  the 
filling.  If  each  warp-thread  shows  different  places  (different  picks)  for  interlacing,  each  thread 
requires  a  different  harness.  If  there  are  warp-threads  in  the  repeat  of  the  weave  which 
have  throughout  the  entire  number  of  picks  the  same  intersecting  places,  they  can  be 
drawn  on  one  harness.  For  example,  examine  the  two  warp-threads  illustrated  in  Fig. 
155  ;  both  are  working  the  same  way  (^  ^  ^  ^  \)  in  its  repeat  of  8-picks,  consequently 
these  two  threads  can  be  drawn  on  one  harness,  giving  the  same  result. 


sun 

nn 

HH 

■■ 

nn 
m 
■■ 

inn 
1 2 


Fig.  155. 


In  Fig  156  we  illustrate  3  warp-threads  over  i6-picks.  An  examination  of  the 
same  will  show  warp-threads  marked  I  and  3  interlacing  correspondingly  with  the 
filling,  and  hence  can  be  drawn  on  the  same  harness  ;  whereas  thread  marked  2  works 
differently,  therefore  requiring  a  different  harness. 


Weave. 

nnnM«n«nBnB«nnn 


leanH 
■□■ 

nan 
nun 
■□■ 
n«a 

■DH 

nan 

■na 

□an 
ana 

H°" 
nan 
ana 

inan 

12  3 

Fig.  156. 


i2a~nnaBannnaanananaannnaaannnannnanannn 
aannnaaannnanananannnaaannnaannnananng 
uuu:  :~::aaB: "BnanannrsBBarniiiaBanijnanBcnri 
Dbbb;  :bbb  b  b'  'fl:r  :flflB: " ::  bbb'  :BflB3anBBa 
n:  :flflfl. :: ':::flflfl:  :Bfl.  :flB:  :flaB. :  ::BflBnBnBaa 
nr:::flflflj:::-:flflB._B  :H..BHB:::j:  bbb:  .  .iBBnanaaa 
B:Lin.jBaBii;  :ljbbub.3b  .bb  .  .;.:bbb:.;.  ,.  :b;  :; .::_:b: 'annn 
aanunaBannnanaLiB.  .a: .: :;  :bbb:.::^:  :bb.  :;  u:  u\  :n:i 
BaannnaaBnanaanBB  ....:flBfl  ;n::BBB_;:  .::b:  ,B::n:4 
naBBnnnaaaanana:.:B:  .::::bbb-  .:^l:bbb:  :BBB:_Bnr  ~ 

nnBBBnnnaBananBLJB:jaBa:jnnBaBLjnaBaui  

innnBaana~Baa:aa::anBaanunaaannnaaanani 

1  38 
Drawing-in  Draft. 

lannnnnannnnnnnnnnnnnnnannnnnanmanannn 
znannnnnannnnnnnnmnnnannnnnannnnnnnnm 
snnanBnnnannnannnannnannnnnannannnnnnnn 


With  Fig.  157  we  illustrate  a  complete  weave 
^one  repeat)  with  its  corresponding  drawing-in 
draft : 


38  warp-threads  ~| 


12  picks 


J 


m  repeat. 


ennnnnannnnnannnnnannnnnBnnnnnnnnnnnnnn 
rnnnnnmnunnnnanannnnnnnnnnnnnnnnnnnnpn 
ennnnnnnnnnnnnnannnnnnnnnnnnnnnnnnnnnnn 

1  38 

Fig.  157. 

An  examination  of  each  warp-thread  in  particular  will  result  as  follows  : 
Warp-threads  i,  7,  23,  29,  33,  35  correspond,  thus  harness  i 

2,  8,  22,  28  "  "        "  2 

3,  9.  13.  17,  21,  27  "  "         "  3 

4,  10,  20,  26,  30,  31,  32.  34,  36,  37,  38  "  '•  "  4 
5,11.19,25  "  "  "  5 
6,  12,  18,  24 

14,  16  <' 

"Warp-thread    15  working  independent,  requires  a  separate  harness;  =: 


37 


Hence,  we  find  drawing-in  draft  illustrated  below  weaves  reading  as  follows: 


The  I  St  warp-thread  for  harness 

I. 

The  20th 

warp-thread  for  harness  4. 

The  2d 

( t 

2. 

The  2 1st 

3- 

The  3d 

n 

3- 

The  2  2d 

2. 

The  4th 

t< 

n 

4- 

The  23d 

a 

I. 

The  5  th 

u 

it 

5. 

IJie  24tn 

«<  ^ 

D. 

The  6th 

u 

a 

6. 

Ine  25tn 

n 

5- 

The  7th 

t( 

I. 

i  ne  20tn 

^^ 

4- 

The  8th 

a 

i( 

2. 

The  27th 

(( 

3- 

The  9th 

(t 

it 

3- 

1  ne  25tn 

2. 

The  loth 

i( 

f  < 

4- 

Ine  29tn 

t( 

I. 

The  nth 

n 

5- 

The  30^^^ 

4. 

The  1 2th 

{( 

6. 

The  31st 

ti 

The  13th 

a 

(( 

■J 

The  3  2d 

U 

4. 

The  14th 

u 

i( 

The  33d 

a 

I. 

The  15  th 

(( 

<( 

I 

The  34th 

u 

4. 

The  1 6th 

(( 

(( 

7- 

The  35th 

(C 

I. 

The  17th 

i( 

u 

3- 

The  36th 

i4 

4 

The  1 8th 

*i 

u 

6. 

The  37th 

4t 

4 

The  19th 

1/ 

u 

5- 

The  38th 

it 

4 

Some  weaves  will  be  found  inexpedient  to  reduce  to  the  lowest  number  of  harnesses,  as  a 
drawing-in  draft  too  irregularly  distributed  will  be  difficult  to  comprehend  by  the  operative  who 
uses  the  same  for  practical  work. 

After  making  out  a  fancy  drawing-in  draft  for  a  weave,  the  design  for  the  "harness-chain" 

must  be  prepared. 

Rule  for  Designing  the  Same:— Reproduce  each  warp-threatl  only  the  first  time  called  for 
by  its  drawing-in  draft  on  a  different  harness.  For  example:  Produce  harness-chain  for  weave 
and  drawing-in  draft  Fig.  157. 

Aits7ver  : 


The  I  St  harness  must  raise  and  lower  as  follows  (reading  downwards): 


The  2d 
The  3d 
The  4th 
The  5  th 
The  6th 
The  7th 
The  8th 


3 


1  3 

3  3^ 

2  3 

3  3 


3 


3  1 


finding  in  this  manner  harness-chain  illustrated  by  Fig.  158. 


■■■    .  ■ 

!!■■■:  .: ;  ■ 

n: ::  .mbii::! 

mv.:.::.  : 

■■     :    ■■  I 

■■■□t  ina: ; 
□■■■urr. 

Fig.  158. 


38 


RULES  FOR  ESTIMATING  THE  NUMBER  OF  HEDD^ES  REQUIRED  ON 

EACH  HARNESS. 

Straight  Draws. 

Rule  :  Divide  the  number  of  threads  the  warp  contains  by  the  number  of  harness  in  the  set  used. 
Example:   4800  ends  in  warp — 8-harness  straight  draw.     How  many  heddles  are  required 
for  each  harness  ? 

Ansiuer:  4800 -h  8  =  600;  600  heddles  are  required  for  each  harness. 

If  ends  remain  over  the  full  repeat  they  are  to  be  added,  beginning  with  harness  one  until 
all  are  taken  up.     These  harnesses  will  consequently  require  one  more  heddle. 

Example:  4800  ends  in  warp — 9-harness  straight  draw.  How  many  heddles  are  required 
for  each  harness  ? 

Anszver:  4800  -^-  9  =  533  full  straight  draws  plus  3  threads. 

Thus,  harness  i,  2,  and  3  must  contain  534  heddles  (1602) 

4,  5.  6,  7,  8  and  9    "        "      533      "  (3198) 


4800 


Fancy  Drawing-in  Drafts. 

Rule:  Multiply  the  number  of  threads  for  each  harness  by  the  number  of  pattern  repeats 
in  the  entire  warp. 

Example: — 3200  ends  in  warp  on  the  following  drawing-in  draft: 
32  threads  in  one  pattern. 

3200     32  =  100  repeats  of  pattern  in  warp. 
nnnnnBnannnnunnnnnnnnnuuuuunnBBUiz  Hamess-a  1  3  >± 


DnnnBnnnnnnnnnBwnnnnnnnnQgngnanni  1 
DDnHnnnnnnnDnanannnDUuuuHijnnuuuuio 
nnnnnDDMnnnnnnnnnngnBnnnnnnnnnnn  9 
•linnnnannnnnnanMnnnnQnnBnnnBnnnnnn  s 
■ —  — idinnnnnBonnannnunnnr  


nnnaBnnnnnBonnannnunBQngnnnnnn  7 
■nnmnncinnnnm«Bnnnnnnnn«nnnnn  e 
nanSnnnganp»nnnnnnnionnn«nnnnnnnn  5 
 tji=!!=!___  —nunaanuDUUU  4 


3i3jnnn«nnannnni  .  , 

— nnnnnnnnnnnnnl 


nnnnnnnar  _ 
in«nnnnnnnniBnnnnnnnn«ndn  2 
"ini  II II  lunnnnnnnnnnnnnnnnnM  1 

32 


Fic.  159. 


-3 
—2 
—2 
-3 
-2 
—4 
-2 
—3  I 
—1 

32 


3  P 


No.  of  Harness. 
I 
2 
3 

4 

5 
6 

7 
8 

9 
10 
II 
12 


Threads  per  Pattern. 

3 
4 
I 

3 
2 

4 

2 

3 
2 
2 
3 
3 

32 


X  100  Repeats. 


Heddles. 
300 
400 
100 
300 
200 
400 
200 
300 
200 
200 
300 
300 


3200 


The  repeat  of  the  pattern  will  not  always  divide  into  the  number  of  the  ends  in  the  warp. 
Sometimes  it  will  leave  a  fraction  over,  which  we  have  to  add  separately.  For  example,  taking 
the  drawing-in  draft  as  before,  and  supposing  the  number  of  ends  for  the  warp  to  be  3206.  This 
will  give  us  the  100  repeats  of  pattern  as  before,  plus  6  ends.  Numbers  i,  3,  6,  10,  11  and  12- 
harness  call  for  the  first  6  warp-ends  in  the  pattern,  hence: 


89 


Number  i  harness  will  call  for  301  heddles. 

3      "        "  " 
6      "        "  401 
10       "        "  "   201  " 

"II       "        "  "  301 

"12       "        "  "  301 

Harness  2,  4,  5,  7,  8  and  9  will  remain  the  same  as  before. 

THE  REED. 

The  reed  consists  of  two  horizontal  strips  of  wood,  between  which  a  series  of  narrow  strips 
of  metal  (flat  steel  wire)  are  bound  in. 

After  a  warp  is  "  drawn  in  its  harness,"  it  has  to  be  "  reeded ;"  one,  two,  three  or  more  ends 
together  are  drawn  in  one  dent  or  split  of  the  reed.  The  purpose  of  the  reed  is.  First :  To  guide  the 
warp-threads  after  leaving  the  harness,  holding  the  same  during  the  entire  width  and  length  of 
the  fabric  evenly  divided.  Second :  To  strike  the  filling  in  evenly  divided  places  all  over  the 
width  of  the  fabric  in  beating  up. 

The  height  of  a  reed  (distance  between  both  horizontal  strips)  varies  according  to  the  fabric  it 
is  used  for. 

Silk  fabrics  requiring  2^  to  3  inches  height. 
Cotton  fabrics    "        2}^  to  " 
Woolen  fabrics  "        4     to  4}4  "  " 
Carpets  "       4}^  to  5 

It  is  advisable  to  have  the  height  of  a  reed  to  }i  inch  higher  than  the  highest  lift  of  any 
thread  in  the  fabric.  It  will  never  do  to  have  this  height  lower  than  any  thread  of  the  upper 
shed  lifts,  as  this  would  chafe  the  warp.  The  reed  has  to  be  movable  the  least  bit  in  the  width  of 
the  lay,  but  is  required  to  be  steady  towards  front  and  back  in  almost  every  kind  of  fabric  ;  except 
in  the  manufacture  of  turkish  towelings,  or  similar  textile  fabrics,  in  which  the  reed  is  required  to 
give  way  in  a  backward  direction  regulated  by  springs. 

To  get  perfect  work  the  reeds  must  be  evenly  set,  the  wires  must  stand  parallel  with  the 
warp  and  the  wire  must  be  neither  too  thick,  nor  too  thin,  too  wide  or  too  narrow  for  the  work. 
The  "  riding "  of  threads  can  often  be  helped  by  different  number  of  threads  per  dent,  or  by 
taking  different  parts  of  the  pattern  in  the  same  dent. 

REED  CALCULATIONS. 

The  reed  is  named  by  numbers,  the  number  in  each  case  indicating  how  many  splits  are  in 
each  inch.  Thus  a  number  8  reed  means  a  reed  with  8  splits  in  every  inch  over  the  required 
width.  If  we  call  for  number  163^  reed,  we  want  a  reed  having  i6)4  splits  in  one  inch,  equal  to 
33  dents  in  every  2  inches  over  the  entire  width  of  the  fabric.  Whole  numbers  or  half  numbers 
alone  are  used  for  grading  of  reeds. 

Example  :  Suppose  we  have  a  number  9  reed,  4  threads  in  one  split  or  dent,  how  many  ends 
are  in  one  inch  ?    How  many  are  in  a  full  warp  if  70  inches  wide  in  reed? 

Answer:  9  x  4  =  36  ends  of  warp  in  one  inch. 

X  70  width  of  warp  in  reed 
2520  ends  in  warp. 

Hence,  we  find  as  a  rule  for  ascertaining  the  number  of  ends  in  the  warp,  if  the  reed  num- 
ber, the  threads  per  dent  and  the  width  of  the  warp  in  reed  are  known,  the  following : 

Multiply  the  reed  number  by  the  threads  per  dent,  and  multiply  the  result  by  the  width  of 
the  warp  in  reed. 

Example  :  How  many  ends  are  in  the  warp  if  using  13)^  reed,  6  threads  per  dent,  80  inches 
wide  in  reed  ? 


40 


Answer:  13^^X6  =  81  X8o  =  6480  ends  in  warp. 

The  next  process  will  be  to  ascertain  the  reed  number,  if  the  number  of  ends  in  the  warp 
and  the  width  in  the  reed  are  known,  the  threads  per  dent  either  given  or  to  be  selected  accord- 
ing to  the  fabric. 

Rule  :  Divide  the  number  of  ends  in  the  warp  by  the  width  in  the  reed,  which  gives  the 
number  of  threads  per  inch. 

Divide  this  result  again  by  the  number  of  threads  in  one  dent  according  to  the  weave  or 
pattern  required. 

Example  :  6480  ends  in  warp,  80  inches  wide  in  reed. 

1st.  How  many  ends  per  inch? 

2d.  What  reed  number  required  if  6  ends  per  dent  are  to  be  used  ? 

Answer:  6480-^80  =  81  ends  per  inch. 

81^6  =  13!/^,  number  of  reed  required. 

It  will  be  easily  understood,  how  to  find  the  width  of  the  warp  in  the  reed.  Supposing  the 
reed  number,  the  threads  per  dent,  and  the  number  of  threads  in  the  warp  are  known  : 

Rule  :  Divide  the  number  of  ends  in  the  warp  by  the  number  of  ends  per  inch,  giving  as 
the  result  the  number  of  inches  the  warp  will  be  in  the  reed. 

Example:  Reed  12  X  3=3600  ends  in  warp.    What  width  will  this  fabric  have  in  the  reed? 

Answer :  12  X  3  =  36  ends  per  inch. 

3600-^36  =  100  inches  width  of  fabric  in  reed. 

The  number  of  ends  to  put  in  one  dent  has  to  be  regulated  according  to  the  fabric  and  the 
weave.  Experience  is  the  only  guide  for  this.  The  coarser  the  reed,  to  a  certain  extent,  the 
easier  the  picks  go  into  the  fabric.  The  finer  the  reed,  the  smoother  the  goods,  and  with  perfect 
reeds  the  less  reed  m.arks. 

The  same  number  of  ends  are  not  always  used  in  each  dent,  but  the  preceding  rules  may  be 
used  for  finding  the  average  number  of  threads  per  dent. 

Example  :  What  are  the  threads  per  inch  ? 

Reed  number  20 

using  I  dent,  4  ends 
I    "     5  " 

Answer:  4  +  5=  9  9^2  =  4^  threads,  average  per  dent,  /  20  number  of  reed  =  90 
threads  per  inch. 

Example  :  What  are  the  threads  per  inch  ? 
Reed  number  18 

using  1  dent,  3  ends 

I    "     4    "  ' 

I  "  3  " 
I    "     6  " 

Anszver :  3  +  4+  3  +  6=  16  threads  in  four  dents. 

16     4=4  threads,  average  per  dent,  X  18  number  of  reed=72  threads  per  inch. 
Sometimes  it  happens  that  the  average  number  of  threads  includes  an  inconvenient  fraction. 
To  avoid  a  calculation  with  this  fraction,  multiply  the  sum  of  the  contents  of  the  dents*  by  the 
dents  per  inch,  and  then  divide  by  the  dents  per  set. 

Example:  What  are  the  threads  per  inch,  warp  reeded  as  follows  in  number  12  reed : 
I  dent,  5  threads. 
I    "     3  " 
I    "     3  " 

3  +  3  +  5  =  II  X  12  =  132. 

132  ^  3  =  44  threads  per  inch. 


Derivative  Weaves. 


FROM  THE  PLAIN  OR  COTTON  WEAVE. 

I.    Common  Rib-Weaves. 

This  sub-division  of  the  "plain"  or  "cotton"  weave  is  classified  into  two  distinct  divisions, 
namely,  weaves  forming  the  face  of  the  fabric  by  the  warp  (warp  effects),  and  weaves  forming  the 
face  of  the  fabric  by  the  filling  (filling  effects). 

Warp  Effects. 

The  principle  observed  in  constructing  these  weaves  is  to  allow  more  than  one  pick  to  follow 

in  succession  into  the  same  shed  of  a  regular 
plain  weave.    This  will  require  a  high  tex- 
ture for  the  warp  in  fabrics  uBnanana 
which  are  interlaced  with  them.      ■  ■ 
The  first  common  rib-weave  to 
be  formed  is  the  change  in  2, 
as  represented  in  Fig.  i6o,  re- 
quiring for  its  repeat  2  warp-threads  and  4 
picks. 

Picks  I  and  2  are  interwoven  in  the 
first  shed  of  the  plain  weave ;  picks  3  and  4 
are  interwoven  in  the  other.  Fig.  161  shows 
a  clearly  drawn  out  diagram  of  this  weave 
and  the  corresponding  interlacing  of  warp 
and  filling  in  a  fabric. 

Fig.  162  illustrates  the  section  cut  of 
the  woven  fabric. 


1 

1 

1 

i 

1 

fs 

1 

— 

1 

1  -1 

Fig.  160. 


nananana 


1  2 

Fig.  163. 


■  ■  ■ 

■  '■  'an 

oanB^iB  '■ 

um:~m  M  m 

!■ IB 

■□■□■nan 

Fig.  164 


Fig.  163  illustrates  the  common  rib-weave  as  obtained  by  a  change  of  3  in  the  filling,  thus 
requiring  for  its  repeat  2  warp-threads  and  6  picks. 

Fig.  164  illustrates  the  change  of  4  picks  in  a  shed  for  constructing  the  next  common 
rib-weave,  requiring  for  its  repeat  2  warp-threads  and  8  picks. 

Weaves  Figs.  160,  163  and  164  require  for  their  repeat  warpways,  2  threads,  and  therefore  2 
harness,  which  number,  in  practical  work  on  the  loom,  will  by  reason  of  the  high  texture  of  warp 
generally  used  be  increased  to  4,  6,  8  or  12  harness,  with  a  corresponding  repetition  2,  3,  4  or  6 
times  of  the  design,  for  the  warp-threads. 

(41) 


42 


Filling  Effects . 

In  these  weaves  every  pick  intersects  alternately  over 
and  below  two  or  three  or  more  warp-threads;  therefore 
being  in  its  principle  nothing  more  than  the  common 
"plain"  weave,  with  two,  three  or  more  threads  used  in- 
stead of  one  in  the  plain  weave.    In  their  general  appear- 
ance these  weaves  are  the  same  as  the  warp  effects  of  the 
same  class  of  weaves  previously  explained  except  that  the 
warp  exchanges  with  the  filling.    As  fabrics  constructed 
with  these  weaves  have  the  filling  for  face,  a  correspond- 
ingly high  texture  of  the  latter  is  required.   The  "  ribs,"  as 
^  produced  by  these  weaves,  are  formed  in  vertical  direction, 
^  or  in  the  direction  of  the  warp-threads  in  the  fabric,  while 
^  in  the  former  division,  classified  as  warp  effects,  this  direc- 
tion is  opposite — that  is,  in  the  direction  of  the  filling. 


nrBBnnBH 
■■□rBB~o 

1  4 

Fig.  165. 


■■■r 

■  ■■ 

□r.ci 

2DCD 


■□□□I 

6 

Fig.  167 


■no3 
■■■ 

■  'j-D 
■■■ 

'immm 

■□□o 


■■■■ 
r  ■■■■ 


inoaa 
■■■■ 

■  ■■■  '7~D 


r: 


Fig. 


168. 


Fig.  165  illustrates  the  change  for  two  warp-threads  in  succession,  interlacing  with  one  pick. 

Fig.  166  shows  a  diagram  illustrating  the  4-harness  rib-weave  and  the  corresponding  inter- 
lacing of  warp  and  filling  in  a  fabric. 

Fig.  167  illustrates  the  change  for  three  warp-threads. 

Fig.  168  illustrates  the  change  for  four  warp-threads. 

Weave  Fig.  165  has  for  its  repeat  4  warp-threads  and  2  picks. 

Weave  Fig.  167  has  for  its  repeat  6  warp-threads  and  2  picks. 

Weave  Fig.  168  has  for  its  repeat  8  warp-threads  and  2  picks. 
But  each  weave  can  be  made,  if  required,  on  2-harness  by  drawing  warp-threads  interlacing  the 
same  in  the  filling  on  i -harness. 

II.    Common  Basket-Weaves. 

These  are  a  combination  of  the  common  rib-weaves,  warp  and  filling  effect,  having  the  same 
changes.    Therefore,  the  principle  of  their  construction  will  readily  be  found  in  the  enlargement, 
warp  and  filling-ways,  of  the  common  plain  weave.     The  first  or  most  simple 
basket-weave  to  be  found  is  produced  by  the  exchanging  of  two  successive  warp- 
threads  with  two  successive  filling-threads,  alternately  up  and  down ;  or  an  equal 
combination  of  rib-weaves.  Figs.  160  and  165. 

Fig.  169  illustrates  this  basket-weave,  requiring  for  the  repeat  four  warp- 
threads  and  four  picks. 

Warp-threads  i  and  2  are  the  first  mate-threads. 

Warp-threads  3  and  4,  the  second. 

Picks  I  and  2  are  the  first  mate-picks. 

Picks  3  and  4,  the  others. 


DOi 


Fig.  169. 


43 


DBDBDI 

m' m 
:  ■  ■ 


threads  working  the  same,  and  also  illus- 
trates a  combination  of  weaves,  Figs.  164 
and  168. 

III. — Fancy  Rib-Weaves. 

Warp  Effects. 

The  first  step  towards  designing  fancy 
rib-weaves  is  the  combination  of  the  regu- 
lar "plain"  weave  with  its  sub- 
division the  common  rib-weave. 

Fig.  174  is  designed  to  il- 
lustrate the  combination  of  one 
pick  "plain"  to  alternate  with 
two  picks  of  the  common  rib- 
weave  ;  or  in  other  words,  to  put  one  pick 
in  one  shed,  and  two  picks  in  the  other  shed 
of  a  regular  plain  weave. 

Fig  175  illustrates  the  diagram  of  this 
weave  with  a  corresponding  illustration  of 
the  interlacing  of  warp  and  filling  in  a 
fabric. 

Fig.  176  illustrates  the  section  cut  of 
the  woven  fabric.    In  its  appearance  in  the 


Fig.  174. 


Fig.  170  shows  a  diagram  illustrating 
the  4-harness  basket-weave,  and  the  cor- 
responding interlacing  of  warp  and  filling 
in  a  fabric.  Fig.  171  illustrates  the  section 
cut  of  the  woven  fabric. 

Fig.  172  illustrates  the  common  6-har- 


or'  ■■■  ■■■ 


6Df. 

□f. 


□G'  I 

□□r  I 
nr'  ■ 
■■■■ 


OD.  ■■■■ 
■■■■ 

□r^  


■■■■ 
■■■■ 

I 

I  no 
I  jQ 
I  "a 
■  ■■■ 


■  BB  JG 
BBB 

aaB_Ga 


Fig.  172. 


BBBB 
BBBB 
BBBB 


Fig.  173. 


ness  basket-weave,  having  three  successive 
warp  and  filling-threads  working  the  same, 
and  forming  also  a  combination  of  weaves, 
Figs.  163  and  167. 

Fig  173  represents  the  common  8-har- 
ness  basket-weave,  with  four  successive  warp- 


1 

1 

\ 

% 

i 

i 

i 

i 

% 

i 

1 

i 

i 

% 

4 

1  Z2,.'/.S.  6.7.8. 


L  Z.  3.      5.  6.  %  S. 

Fig.  175. 


44 


'1 


3.i 


m\'\m\  \  ^- 


-i 


1.  Z.  %  H.  i.  6.  "7.  S: 

Fig.  17S. 

or  two  changes  of  the  plain  weave  and 


woven  fabric  this  weave,  as  well  as  the  following 
similarly  constructed  weaves,  will  produce  the  fancy 
effect  by  alternately  exchanging  heavy  and  fine  rib  lines. 

Fig.  177  illustrates  the  change  as  to  the  size  of 
the  rib  produced  by  one  pick  in  one  rib  to  alternate 
with  three  picks  in  the  other  rib.  Repeat  of  weave:  2 
warp-threads,  and  4  picks. 


□■  m  -m:  m 

■I  jai.jBua  .1 


Fig.  177. 


Fig.  178  illustrates  the  diagram  of  the  weave,  with 
a  corresponding  illustration  of  the  interlacing  of  warp 
and  filling  in  a  fabric. 

Fig.  179  illustrates  the  section  cut  of  the  woven 
fabric. 

Fig.  180  illu.strates  a  fancy  rib-weave  having  two 
picks  in  one  shed,  to  alternate  with  three  picks  in 
the  other  shed.  Repeat  of  weave :  2  warp-threads  and 
5  picks. 

Fig.  181  illustrates  a  fancy  rib- weave   as  prc- 
duced  by  a  change  of  the  shed  of  i,  i  and  3  picks 
one  change  of  three  picks  in  the  same  shed. 


Fig.  180. 


■□■□■^■21 

■□■□■□■a 

J  2 

Fig.  181. 


Fig.  182. 


Fig.  182  illustrates  the  combination  of  three  different  ribs,  (as  to  its  size)  or  the  changes  for 
picks  in  one  shed,  as  i,  2,  3.    Repeat  of  weave:  2  warp-threads  and  12  picks. 

Filling  Effects. 

In  fabrics  produced  with  these  weaves,  the  rib-lines  run  in  the  direction  of  the  warp-threads 
in  the  fabric.  The  face  and  back  of  the  fabric  will  be  produced  with  the  filling,  the  warp  forming 
the  centre. 


45 


Fig.  183  illustrates  the  combination  of  one  warp-thread  in  one  filling  change,  to  alternate  with 
one  filling  change  containing  two  warp-threads. 

Fig.  184  illustrates  the  warp  change  of  i  and  3  in  a  fancy  rib-weave.  Repeat  of  weave  : 
4  warp-threads  and  2  picks. 

chi«k:bbb::bb«  cnaBMCCBHH  nBcnBcaa  raaannHnnBH 

nrm'^Ti  mmcrrmmcna  ■'^■■nw-n  ■r_r~BBB'iBBnGG 

ri' :  ■    ■  ■■  cmm  '  m  mmm 

■      ■      ■  1  .  ]  mm'r.n  -.mwtJiTj  ■  ■■  ■    1  mt  mmm  mm  la 

CMCMDH                    ■■■  ■■■  mam  L;r,BBB[:cBH  i  ■    ■  ■■  ■  ■■■ 

m  :  y  m.  '  nm:\iij  mmcnrMmGan  ■  ■■  k.id 

'□■■□■■naa                  ^[  jmb  2::b:ji  .bcbb  2GH^j::'B:^L:aH 

13  14  .15  18  1  12 

Fig.  183.  Fig.  184.  Fig.  185.  Fig.  186.  Fig.  187. 

Fig.  185,  with  a  change  of  2  and  3  in  its  con.struction,  requires  for  its  repeat  5  warp-threads 
and  2  picks. 

Fig.  186,  with  a  change  of  l,  1,2,  requires  for  the  repeat  of  the  weave  8  warp-threads  and 
2  picks. 

Fig.  187,  constructed  by  means  of  change  i,  2,  3,  requires  for  the  repeat  of  the  weave  12 
warp-threads  and  2  picks. 

IV.    Fancy  Basket-Weaves. 


□■■GBI 
□■■GHI 

■rj[^Br;c 

SOBBGH 

□■■IJH 

i».gj»::l' 


■GnaaBB 
■GGaaaa 
■iGaaaa 

mm  I  .  ) 


i^aG.!;.  ^aa  <  , 

Fig.  190. 


Fig. 


□■□□□■□aaaaaannMGBBa 

CBDGDBGBBaCaGrraGBBB 

CBrrrnGBaa^a^G'  m  ^mmm 
B::Bsn~ii'^"'i"a  aaa  a  on 
L  Eg:  .1  ai  mem''  m  :  m'  mmm 
B'-BBBi'B  i  a  aaa  a  jGD 
BGBBBi  a  .  .  a  aaa  a  zoD 
iCBBKi  a  :  .  a  aaa  a: 


"GO 


[  L  .      _  _ 

a  g>eo  a 


EBB 

I        !  I 

aaa: 


These  weaves  are  obtained  by  combining  common  basket-effects  of  different  sizes  in  one 
design.  They  also  have  their  principle  of  con.struction  in  the  combination  of  corresponding  warp 
and  filling  effects  ot  the  fancy  rib-weaves. 

Fig.  188  illustrates  the  fancy  basket-weave  produced  with  an  alternate 
change  of  one  and  two  threads,  warp  and  filling  ways.    Repeat:  3  warp-  ^bbb^bSS 
threads,  ^  picks.  '  SSa  SSS 

^  mmm  mmm 

Fig.  i88.  pjg^  jg^  jg  produced  by  the  alternate  changes  of  one  and  three    'f-  ."ljuu 

threads,  warp  and  filling  ways.    Repeat :  4  warp-threads,  4  picks. 

Fig.  190  illustrates  a  fancy  basket-weave  of  a 
construction  twice  as  heavy  as  the  weave  illus- 
trated in  Fig.  188,  or  the  alternate  changes  of  two 
and  four,  warp  and  filling  ways.  Repeat :  6  warp- 
threads,  6  picks. 

Fig.  191  illustrates  a  fancy  basket-weave  pro- 
duced with  a  change  of  3,      I,  for  warp  and  filling- 
Repeat :  10  warp-threads,  10  picks. 

This  weave  will  also  indicate 
an  important  point  in  the  con- 
struction of  fancy  basket-weaves 

with  regard  to  their  repeat.  If  changes  are  required,  and 
warp  and  filling  ways  are  of  an  uneven  number,  the  repeat 
for  warp  and  filling  threads  will  be  double  the  number  of 
threads  called  for  in  those  changes.  For  example  take 
the  present  weave.  Changes  for  warp  and  filling  are  3,  i,  i. 
Thus,  as  three  is  an  uneven  number,  we  find  3+14-1  = 
5  X  2  =  10  threads  of  warp  and  10  picks  necessary  for  one 
complete  repeat. 

Fig.  192  illustrates  a  fancy  basket-weave  having  for  its 
foundation  the  change  of  i,  2,  4  for  warp  and  filling. 
Repeat:  14  warp-threads,  14  picks. 

In  addition  to  basket-weaves  made  with  even  changes 


■  '  '  a  aaa~  a  '  ;g 
BBB'  a  ^  '  a  aaa 

■:  I .  BGaaai  a^  igd 

■  .:  ai'  aaa'  a  na 
I  :c.M  mmm  a  ;gd 

■aaGB.  .  a  aaa 
■GDpBLBBBuauaa 


Fig.  191. 


□BBnanaanni 

naBGnGGBGGf 
tlBBGGGGB^' 

PBB  '"'   !~  a 


.  iBGGnnBGGBI 

IGBBGGGr^B'GGBl 
IBBBGaBGG'"'  ^a'~''"ai 


caaGonGaG  ^aaaa 
■CGaaaBGaa 

EincBBBBGan    .  .  j 

felGGBBBBGaa     '  I 

a  iGBBBaGBa  1 

CBBGG  IB  '■  BBBB 
CJBB  1  ]  i  a  BBBB 
a      BBBB  'BB  "'G  I 

ttrmn  j  a  aaaa 
raa  '<  .  ,  m  aaaa 
raa  ~i    .  m  aaaa 

Caa   GIB!  BBBB 

a    aaau  aa  ■ 

B'  BBBB  'BB  :  i  ~  I 
GBB  .'IB  BBBB 

a. ,  'BBBB  'aa    '  .  j 


iBBBB 

aaaa 
aaaa 


aa 

I  '  I 
aa 


caa . 

□BB 

IBGGI 


ilG 
IGG 
IGG 


■  J  jGG 
.BBBB 
BBBB 
BBBa 


■  I  "GG 
I  '  TJ 
I  Kl  .TJ 
I  •  IGG 
BBBB 


IBGGGUBGUBBBBJBaGGGJ 

H 

Fig.  192. 


46 


for  warp  and  filling,  it  may  often  be  necessary  to  construct  this  division  of  weaves  in  one  system 
heavier  than  in  the  other.  The  reason  for  constructing  basket-weaves  in  this  manner  is  found 
either  in  the  difference  of  textures  of  warp  and  filling,  or  because  of  the  different  counts  of  yarn 
for  the  warp  and  filling.    Figs.  193  and  194  illustrate  two  weaves  constructed  in  this  manner. 


Reneat  /  ^  ^arp-threads. 
Repeat    ^  ^y^^^^ 


□□□□■■■■nn--' 

■■■■ 

■■■■ 

□□c  ■■■■ 

■■■■ 

■■■■  ■■■ 

■  1 

■■■■  ■■■ 

■    .  i  J 

■■■■  ■■■ 

m.     •  J 

■■■■ 

■■■■ 

■■■■ 

■□□□□■■■■□uun 


i  Repeat  I 


Fig.  193. 


Fig.  194. 


V.    Figured  Rib-Weaves. 

These  are  the  combination  of  common  and  fancy  rib-weaves  so  as  to  produce  a  new  weave. 
The  following  few  examples,  with  the  corresponding  explanations,  will  illustrate  methods  by 
which  each  rib-weave  (as  numerous  as  they  can  possibly  be  constructed  in  plain  and  fancy) 
can  be  varied  in  an  endless  manner.  The  first  step  towards  figuring  will  be  to  change  the 
rib-line  in  a  common  rib-weave  after  a  certain  number  of  warp-threads.  Figs,  195,  196  and  197 
are  designed  for  the  purpose  of  illustrating  this  method. 

Fig.  195  contains  for  its  principle  the  common  rib-weave,  Fig. 
160,  ^-  2-  The  rib  is  arranged  for  one  pick  higher  for  every  six  succes- 
sive warp-threads.  Repeat:  24  warp-threads  and  4  picks.  Thus,  as  4 
picks  form  the  repeat  for  the  common  rib,  find  the  number  of  warp- 
threads  required  for  the  full  design  as  follows:  Successive  warp-threads,  I'l'^-  i95- 
X  number  of  changes,  =  warp-threads  required  for  full  design.    6X4  =  24. 

Fig.  196  contains  for  its  principle  of  construction  the  common  rib-weave,  Fig.  163,  ^  The 

rib  is  again  arranged  for  two  picks  higher  for  every  six  successive  warp-threads.  Repeat:  18 
warp-threads  and  5  picks. 

Fig.  197  contains  for  its  construction  the  common  rib-weave,  Fig.  164,  ^.    The  rib  is 

arranged  two  picks  higher  for  every  eight  successive  warp-threads.  Repeat:  32  warp-threads  and 
8  picks. 

Figs.  198,  199,  200  and  201  illustrate  a  second  division  of  figured  rib-weaves,  having  for 
their  foundation  fancy  rib-weave  warp  effects. 


■  ■  ■  m  m  mi:      u  i 

■  ■  «'j         ■  ■ 

m^m  m 


L  ■  ■  .mis  '2  :z 

□  -aa 

I 

4 

L  ■  ■  m^2  >^ 

■  ■  .jB  la  j'li  >ij  j 

■  B^B    ei  ■Ti  >i< 
a  B  B        'Z!  -:<i: 
K  m  m  m  'i<  >i<  'x: 

:}  r:  la 

j3  ai 
la 

sDBnBGBnB'-inai 

DB'  B  ~B   B  a"\ 

CB  B  B  b:: 

3nat-ami~unm'  ^■nnon 
a  aB  B  B  B  a  a 
::  B  B  B  B  a 

na'^ao 
a-BQ 
a  aia 

^m  ,B_B-i'  >3  •!  :: 
cm  m^m^ll  s<  a^j 

■LB  B .  B 

a  a.  B  B  B  B  a 

a  a  ^3 

B  .B^.B^a  JQ  .a  '.aja  a 
B^B^BJjajffl.jB^aDa  ja 

■r  BL.B.  ■ 

iblb_.b:,b  _  _  a 

1 

i:  a    B  B  B  B  a 

aLa_  a_B_B^  B_.Ba_B 

a  ara 
a  aa 

_ajaa 

32 

■□■□□B3H 

^naaaBOBn 
■□BaBDao 

■jBDuaaa 

1  8 


Fig.  196. 


Fig.  197. 


Fig. 


■□■  JB  j  ^a  ja  la 

■□BJB JB JBJBQ 

JBJaDMq 

1  12 

Fig.  199. 


Fig.  198  is  constructed  out  of  the  regular  fancy  rib-weave,  j  (see  Fig.  177).    Repeat:  8 

warp-threads  and  4  picks. 

Fig.  199  is  constructed  out  of  the  regular  fancy  rib- weave,  ^  j.  Repeat:  12  warp-threads 

and  6  picks. 

Fig.  200  is  constructed  out  of  the  regular  fancy  rib-weave,  ^  ^.    Repeat:  24  warp-threads 

and  6  picks. 

Fig.  201  is  con.structed  out  of  the  regular  fancy  rib-weave,  5-  "^^i^^  ^o"''  changes  in  the 

repeat,  each  change  8  warp-threads,  thus:  repeat  32  warp-threads  and  8  picks. 


47 


Figs.  202  and  203  illustrate  a  third  sub-division  of  the  figured  rib-weaves,  having  for  their 
foundation  the  fancy  rib-weave  filling  effect. 

Fig.  202  is  constructed  out  of  the  regular  fancy  rib-weave,  3  ^.  Repeat:  4  warp-threads  and 

8  picks. 


□■□ 
■□ 
■□ 

la 
■□ 
■a 
■□ 
■□ 

□UH 

uma 

1'4 


■  ■  ■  ■  ■ 

■ 

■ 

■ 

■ 

■ 

■ 

■ 

:  □ 

■  ■  ■  ■  ■ 

■ 

■ 

■ 

;  a 
■□ 

■  ■  ■  ■ 

■ 

■ 

■a 

■  ■ 

(  B  a  u 
■  ■  ■  ■  ■ 

■ 
■ 

■ 
■ 

■ 
■ 

■ 
■ 

■ 
■ 

■ 
■ 

■ 
■ 

■ 

□  a 

■ 

{■□■□■□■oaauBaaaBMc 

□■□■□■□■□■□■□■a 

Fig.  200. 


Fig.  201. 


■"bbb^bb 
■bb"bbb" 

IBBBuBBBQ 


Fig. 


Fig.  203  is  constructed  out  of  the  regular  fancy  rib-weave,  ^  ?.    Repeat :  6  warp-threads 

and  12  picks. 

The  next  method  for  the  designing  of  figured  rib-weaves  is  the  combination  of  the 
warp  and  the  filling  effects  of  the  common  rib-weaves.  We  may  select  both  effects  correspond- 
ingly, or  combine  two  different  effects. 

Fig.  204  illustrates  the  combination  of  the  common  rib-weave,   — ^,  warp  effect,  with  the 

common  rib-weave,  ^  -,  filling  effect.  Each  effect  is  arranged  for  a  repeat  of  8  warp-threads  and 

8  picks.    Repeat  of  complete  weave  :  16  warp-threads  and  16  picks. 


■nCBBBBDOBBB 


■  BBBB 

bbbi^'I'bbbb^^j 
■bbb""bbbb"j 

IBBBaaCBBBBDa 


leccn-nnnnEiBnBCi 
□□□□"7"  "^Br  b:  I 
DO"  ::ann  a  a  i 
nana  a  a  1 
nc  o::'j::a  a  a 
□□aa  a  a  a 
□c:  :;:::;::a  a  a 
aaar.  a  a  a 
DB  a  a  a 
ca  a  a  a:::x::; 
ra  a  a  a 


1 


Fig.  203. 


Fig.  204. 


m'j 

B'J 
BT 

□ 
;aa 

□ 

J 

jDQ 

10 


g:: 
L  :; 
g:: 
[  a 
r'B 
r:a 
[  a 


B-B„B_  a:z_GH__aa 

ipGBJBGBGaQGCBaOg 


Fig.  205. 


Fig.  205  illustrates  the  combination  of  the  common  rib-weave  ^,  warp  effect  with  the 

common  rib-weave  ^  -,  filling  effect.   Each  effect  is  arranged  for  a  repeat  of  8  warp-threads  and 

8  picks.  Repeat  of  combination  design:  16  warp-threads  and  16  picks.  These  changes  of 
warp  and  filling  effects  may  also  be  arranged  after  the  shape  of  a  certain  weave.  For 
example,  Fig.  206,  which  is  arranged  after  the  4-harness  broken  twill  ^gj 


raama  \ 

-GOB  1 
-IGG  I. 
iCGG/ 


ssDnBHHHnnnanannaHBDBnBOBonHDDODHa 
Bar-i    sa^r  aaaa'  -r-n^-pnaranr:'^  aaaai 
□raaaa    aa       an  a  a  a  aaa  aa 
Ba        aa    ac;aa      a  a  a  a    aaaa  j 

  —  aaa  aaa  aa 

aaaa    aaaa  i 
:b  a  a  a  aa  aa 


BE^^,,^E 

bg'" 

□c:Gaaa 
bg„,,,,„e 

BG^'^)'":; 

bg^^)'""e 

bg^^"^"g 

bq")"^":: 

BG'""""a 
ccaaaa 
BB  a 
Bca  a  a 
mem  a  a 
□a:  a  a 
□B  a  a 
□ara  a 
□a  a  a 


a  a  a  J 
a  a  aj 

::^,,,,,,,aa 

:"^'"^aa 
:;)^"""aa 
;""__"aa 
j''"""aa 
:""""aa 
:""""aa 


■_.a  aaaa-  __aa^_- 

Fig.  206. 


aannBBDaaBDGQBDnBaDBDHDBOBnnaBnDaB 

BEG'^BG  "   3D — GG  7  7  ^BG  BGB^BGG  "?7GGGG 

CDGa    aa    aa    aa  a  a  a  a    aa  aa 

—    ....    ...     ....      _  _  _  ^,„,    ,,,,  J 

.... 


BG 

aL 

GG 

c  a:: 

BB^_ 

Ba"" 

G  a:: 

BG 

cl  a:; 

Ba")' 
Ba"'' 

bg"" 
Ga  ■ 
Ga.  ■ 
Ga  I 

GB  ■ 


IBUB.B^B^aG 


aaa 


aa 


„a3 

"Eia 
"Sa 
"aa 
■"aa 


Fig.  207. 

-)  is  used.    Each  change  in  effect 


For  warp  and  filling  face  the  same  fancy  rib-weave  (- 
(after  the  4-harness  twill,  as  mentioned  before)  is  arranged  for  8  warp-threads  and  8  picks 
repeat.    Repeat  of  weave  :  32  warp- threads  and  32  pick.s. 


48 


Fig.  207  also  has  for  its  principle  the  four-harness  broken  twill.    Two  different  common 

rib-weaves  are  used  in  its  construction,  as  follows  :  For  the  warp  effect  *  ^ ;  for  the  filling  effect 

^  Each  change  in  effect  is  arranged  for  8  warp-threads  and  8  picks  repeat.    Repeat  of 

weave:  32  warp-threads  and  32  picks  repeat. 

32DBnBGBnBGnnnHDTnnn!3nnEnHnBnBnBnB 
cm'M'm'maaD  Gnc  aa  m  bi  « 
ra  ■  ■  ■  r.r.i:  ■  ■  ■  ■ 

■  ■  ■  ■  r.iy.:      i:::      ■  ■  ■  ■□ 


cm  m  m  mir.y^  ::z:u 

LM  ■  ■  ■      c.c  l: 

CB  ■  ■  ixy.: 

□□a  c.azi      oiz  ■ 

,„  '^^-n'^' 
□a:;'  "'aaa  ':x;" 
c     ::::  a:::: 
EHc:  aa  ■ 

:  ::k::  aaai 

■  ■  ■  ■ 
[  ■  ■  ■  ■ 

g:x:    lY^:-.  ■  ■  ■  <■ 


■  ■  I 

■  ■  I 

■  ■ 


Fig.  208. 


■  ■□ 

3  :a 

::  'ru 
,;  JO 

.jjiD 
as 


^□■□■□■□■□□naHnnanHnEOHni 
□■□■□■□■□□□n'^naasanQDBnB 


□■:;:;[: 

he"''":: 

r.    ■  ■ 

EE   ■  I 


■  ■ 

■  ■ 

■  ■ 

■  ■  I 

■  ■  I 

■  ■  B 

■  <■ 


■  ■  Bill 
■  O 

EEEQ 

;e  ]□ 
3[:  ]□ 

14 


Fig.  209. 


Fig.  208  illustrates  a  figured  rib-weave  having  warp  and  filling  changes  equal  Q-^),  and 
with  systems  of  effects  arranged  to  exchange  in  the  shape  of  the  4-harness  even-sided  twill. 

TeSSB^       Repeat:  32  warp-threads  and  32  picks. 
\muam/  ' 

Fig.  209  illustrates  warp  and  filling  changes  equal   3),  both  arranged  to  exchange  in  the 

shape  of  an  even-sided  twill.  Examples  204  to  209  will  indicate  the  great  variety  for  figured 
rib-weaves.    An  endless  number  of  them  could  easily  be  constructed. 

In  the  beginning  of  our  explanation  of  the  common  rib-weaves,  we  mentioned  that  in  "  warp 
effects  "  the  warp  forms  the  face  and  back  of  the  fabric  and  the  filling  rests  in  its  centre,  while 
in  "  filling  effects,"  the  filling  produces  the  face  and  back  and  the  warp  rests  in  its  centre.  To 
improve  or  increase  the  strength  of  the  fabric  we  may  interlace  the  warp  or  filling  threads  float- 
ing on  the  back  of  the  fabric  on  an  extra  weave.  Figs.  210,  211  and  212  are  designed  to  give  a 
clear  illustration. 


Fig.  210. 


■■■■■ 

.  ]□□ 

■1 

■■■■■ 

:oa 
■■■■■ 


■ 

■ 

■ 

□  ■■ 

■  ■■ 

■ 

■ 

■ 

:□□ 

c.- 

M 

■ 

■ 

■ 

mm 

■mm 

■■ 

■ 

■ 

■ 

m 

~/3G 

c. 

■ 

■ 

■ 

■ 

m 

■■■ 

■ 

■ 

■ 

■ 

■ 

■ 

m 

■;na 

■ 

■ 

■ 

■ 

■  ■MB 

■■■ 

■ 

■ 

■ 

c 

■ 

■ 

■ 

■ 

■ 

■ 

mm 

■■ 

■ 

■ 

■ 

■ 

r. 

■ 

■ 

■ 

■ 

■ 

mmm 

■ 

■ 

■ 

Fig  211. 


Fig.  212. 


Fig.  210  illustrates  the  common  ^  g  rib-weave  (warp  effect),  having  its  warp-threads,  as 

they  float  on  the  back,  interlace  in  rotation  once  more  with  the  filling,  and  thus  giving  additional 
strength  to  the  fabric. 

Fig.  211  illustrates  the  common  =  5  fib- weave  (filling  effect).    The  filling,  when  floating 

on  the  back  of  the  fabric,  is  arranged  to  interlace  additional,  after  the  manner  of  a  broken  twill. 
Fig.  212  illustrates  this  additional  interlacing  arranged  with  the  same  twill  for  each  rib. 


Effects  Produced  by  Using  two  or  more  Colors  in  Warp  and  Filling  of  Fabrics 
interlaced  upon  Rib  and  Basket-Weaves. 

Rib  and  Basket-weaves  are  frequently  used  for  producing  various  effects  by  different  com- 
binations of  colors  in  warp  and  filling.  We  will  describe  a  few  of  the  effects  most  frequently  used, 
thus  giving  the  student  the  necessary  points  for  the  construction  of  any  effect  he  may  have  occa- 
sion to  produce. 


49 


Fig.  213  illustrates  an  effect  derived  by  a  color  arrangement  of  the  warp  (dressing),  i  end  light, 
I  end  dark,  and  a  color  arrangement  of  the  filling,  2  picks  light  2  picks  dark,  upon  a  fabric  inter- 
laced with  the  common  rib-weave  (warp  effect)  ?  


Diagram  for  Explain- 
ing Figs.  213  to  224. 
Arrangement 
of  Warp 
(Dressing.) 


Weave 


~  S, " 


Effect. 


B   B  ~ 

■  B 
B  B 
B  B 

!□ 
::  a 

□be; 

□H  i 

■CB^'' 
■'UB 

□B  □ 

□□  □ 

□H 

□s 


:  ia 

:  :a 
:  □ 


Fig.  213. 


a  ;k 
Fig. 


:  a 
;  a 

;  ;a 
;  .3 


214. 


Fig.  215. 


;aa 
aa 
□ 
aa 
aa 
aa 
aa 
aa 
aa 
aa 
aa 
aa 
aa 
:aa 
jaa 


c  mm 
mm 

L  BB 

[ 

L  aa 

1 

I 

L  ^" 

L  a[; 

G  ■ 

caa 

aaaaaaaaaaaa 

Fig.  216. 


Fig.  214  illustrates  the  same  weave  and  the  same  arrangement  of  the  warp  as  Fig.  213- 
The  arrangement  of  the  filling  is  also,  2  picks  dark,  2  picks  light,  as  used  in  Fig.  213,  but  is  started 
on  the  opposite  shed.  In  Fig.  213  the  light  filling  covers  the  dark  warp  and  the  dark  filling 
covers  the  light  warp,  and  the  effect  produced  are  lines  across  the  width  of  the  fabric,  (in  the 
direction  of  the  filling),  each  line  having  the  size  of  two  successive  picks  ;  in  Fig.  214  the  light 
filling  covers  the  light  warp  and  the  dark  filling  covers  the  dark  warp,  forming  for  effect  a 
hair-line. 

Fig.  215  illustrates  a  heavier  hair-line  obtained  with  the  common  rib-weave  filling  effect  ^  

Arrangement  for  the  warp:  2  ends  light,  2  ends  dark.  Arrangement  for  the  filling:  i  pick  dark, 
I  pick  light,  each  style  of  warp  covered  by  its  own  colored  filling. 

Fig.  216  illustrates  the  tricot  effect  produced  on  the  same  rib-weave  as  Fig.  215  ;  also  the 
same  color  arrangement  for  warp  and  filling,  except  that  the  light  filling  covers  the  dark  warp, 
and  the  dark  filling  covers  the  light  warp. 


■□■□■□□□□□□□□□□□□□□□□on 
■  B  "  B  "  '  ti  -'ry  >'  a^  -a:    a  a  1 


■■□□□□□nnnncnGDnDnnnpnnnnnnnGPDnnannnn 
r^BBi-  Haaf-'  -aaaat'  "aaan=  ("aaf  ^aaaa^  r:aaaa"-«i 
i^^^^BB  r,r.""    """"  """"  :^ ^ 

oSEL.fik;aaf-*v.aKr"''""'"''Eai 
□■■QBaaaiiiaaaaaaaaaaai 


.aaaBGHHBBBHl 


L  B 

B 

B 

1 

□  : 

a  ) 

■ 

DC 

a  [;  1 

BB 

UL 

a  a  1 

□C 

a  a 

□C 

i 

a  a 

□L 

1 

a  a 

□C 

a  a 

□C 

□r 

1 

a  a 

DC 

□C 

( 

a  a 

□c 

1 

a  a 

□c 

a  a 

□c 

abr^a.  m 

-,bIIq 

□G 

a 

■■■■■ 

■BBBIB 

Fig. 


Fig.  2i£ 


Fig.  219. 


Fig.  217  illustrates  an  effect  obtained  by  combining-  effects  Figs.  215  and  216.  Arrangement 
of  the  warp : 

2  ends  light, 
2  "  dark, 
2  "  light, 
4  "  dark, 
2    "  light, 

4  "  dark, 

16  ends  in  repeat. 

Arrangement  of  the  filling  :  one  pick  dark  to  alternate  with  one  pick  light. 

Fig.  218  illustrates  an  effect  produced  upon  a  fabric  interlaced  on  the  common  rib-weave 
(warp  effect)  3,  with  the  following  arrangement  for  the  warp : 

2  ends  light, 

I  end  dark, 

I    "  light, 

I    "  dark, 

5  ends  in  repeat  Filling:  all  light. 


50 


Fig.  219  illustrates  a  hair-line,  upon  a  fabric  interlaced  on  the  fancy  rib-weave  j  ^  (filling 

effect).  Dressing:  i  end  dark,  2  ends  light,  =  3  ends  in  repeat.  Filling:  one  pick  light  to  alter- 
nate with  one  pick  dark.    Each  color  in  warp  is  covered  by  its  own  color  in  filling. 

Fig.  220  represents  another  hair  line,  having  more  ground  space  between  each  line.  Weave: 

fancy  rib  j  -.    Dressing:  i  end  dark,  3  ends  light,  =  4  ends  in  repeat.    Filling:  i  pick  light, 

I  pick  dark.    Each  color  in  warp  is  covered  by  its  own  color  in  filling. 

Fig.  221  illustrates  a  heavy  hair-line  effect  similar  to  the  one  shown  in  Fig.  215  and  is  pro- 
duced upon  a  fabric  interlaced  with  the  common  4-harness  basket-weave.  Dressing  and  arrange- 
ment of  filling :  2  ends  light  to  alternate  with  2  ends  dark.  Each  color  in  warp  to  be  cov- 
ered by  its  own  filling. 

Fig.  222  shows  an  effect  produced  with  the  same  weave  and  dressing  as  Fig.  221.  Filling: 
all  lisht. 


:i  J 

\  0 

m 

\E  m 

HI: 
0 
a  • 
□r: 

-  11 

Of: 

a ' 

□Li, 

Fig.  220.  Fig.  221.  Fic;.  222. 

Fig.  223  illustrates  a  "  star-effect "  obtained  upon  a  fabric  interlaced  with  the  4-harness  com- 
mon basket-weave.    Arrangement  for  warp  and  filling  : 

1  end  light, 

2  ends  dark, 
I  end  light, 


4  ends  in  repeat. 


■■nnnnnnnnmnnnnnmn 


3  jl 

Fig.  223.  Fig.  224. 

Fig.  224  illustrates  another  small  effect  upon  a  fabric  interlaced  with  the  4-harness  basket- 
weave.    Arrangement  for  warp  and  filling  : 


2  ends  dark, 
4  ends  light, 


or 


color  No.  I. 
color  No.  2. 


6  ends  in  repeat  of  color  arrangement,  and  12  ends  the  repeat  of  the  entire  effect. 
It  will  be  easily  seen  that  an  endless  variety  of  effects  can  be  produced,  but  those  pre- 
viously given  illustrate  the  most  frequently  used,  and  will  be  a  guide  for  the  student  in  construct- 
ing other  effects  on  2,  3,  or  more,  color  arrangements. 

VI.    Oblique  Rib-Weaves. 

This  sub-division  of  the  rib-weaves  is  used  in  the  manufacture  of  a  line  of  fabrics  tech- 
nically known  as  "  basket-cloth  "  ;  and  they  are  also  used  to  a  great  extent  in  the  manufacture  of 
worsted  suitings,  cloakings,  etc.    For  their  construction  we  use  the  following  rule  : 


51 


Divide  the  repeat,  which  must  be  equal  warp  and  filling-ways,  in  four  equal  squares.  (For 
example,  take  diagram,  Fig.  225.  Suppose  n  a,  b,  c,  d  to  form  the  repeat  for  the  weave,  warp 
^  and  filling- ways.  Small  squares  numbered  i,  2,  3 
and  4  are  the  four  equal  squares  required.)  Next, 
divide  the  main  square  {a,  b,  c,  d)  into  eight  parts 
by  running  two  oblique  litics  from  each  corner  through 
the  centre  ((?)  to  the  opposite  corner.  For  illustra- 
tion, see  diagram.  Fig.  226:  lines  /;  to  d  and  a  to  c,  in 
addition  to  lines  /  to  h  and  i  to  g  will  divide  the  main 
square  a,  b,  c,  d  into  eight  even  parts,  each  of  a  tri-  ^- 
angular  shape,  as  indicated  by  numbers  i,  2,  3,  4,  5, 
6,  7  and  8.  Two  methods  of  construction  can  next 
be  observed :  either  we  fill  out  every  triangle  containing  uneven  numbers  with  filling-weave 
effect,  and  every  even-numbered  triangle  with  a  warp-rib  effect,  or  we  select  two  connecting 
triangles  such  as  i  and  2  =  a,  e,  b,  for  warp  effect  rib-weave,  and  the  next  two  triangles  3 
and  ^  =  b,  e,  c,  for  filling  effect,  to  be  followed  by  triangle  c,  e,  d  with  warp  effect,  and  triangle 
d,  e,  a  with  filling  effect.  Weaves  Figs.  227,  228,  229  and  230  are  constructed  according  to  the 
first-mentioned  rule.  Figs.  231,  232,  233  and  234  are  produced  according  to  the  second 
method  of  construction. 


I 

2 

 < 

4 

3 

Fig.  225. 


1  « 

Fig.  227. 


P  /  6  warp-threads, 
repeat  ^  g  ^^^^^^ 


H!  mrmu 

a  ■■■■ 
■■■■  u 

Q. 

■■□■□□Ga 

1  H 

Fig.  228. 


P  J  8  warp-threads. 
Kepeat  ^  g  ^^^^^ 


■   ■  D 


Ha 


T  10 

Fig.  229 


Repeat/  ^^^^p-th'"^^^^ 
'       y  10  picks. 


LI 


I  a  □ 
■□aaa  a 
I  a 

■aaaaaa 


Fig.  230. 


Repeat 


f  12  warp-threads, 
[12  picks. 


Fig.  231, 


Repeat  ■f^^.^IP-*^'*^^^^- 
^      1^  6  picks. 


BEH'TBCCD 
CG'JDHH 
■■■■GGCG 

ccGBoaaa 

■■GBGQGG 
ICBDBGQGH 

1  8 

Fig.  232. 


-p  [8  warp-threads, 

repeat  <J  8  picks. 


lOOHDBOBGBnO 
BEGaGB'-»--T 
□rna  ■  ■■■ 
Ga;>::  ■ 
n~  ■■■■■ 
■■■■■ 

■  ■  r::;a3 

■■■   ■   V.  -G 

■  ■  a  aa 

m  m  ■ .  a^a<j 


Fig.  233. 


Repeat! 

^      (10  picks. 


□ra 
Eaa 

□G 

□aac 

□rr 


CD 
■■■I 

GG  I 
■■  I 

IGB^I 

1 


x;a 

G 

:aa 

a 

JGH 


Fig.  234. 


^  .  f  12  warp-threads. 
^^P^^^\  12  picks. 


ISBGHGHDHGnDHGnnHGna 

□GBGa  nGBGa'"  n „g^B 


V2U 


G  . 


Fig.  235. 


:^aaa 
"aaa 


Combining  Common  Rib  and  Oblique  Rib-WeaveSo 

Design  Fig.  235  illustrates  the  repetition  of  weave  Fig.  234  with  an 
additional  common  rib  effect,  warp  and  filling  ways,  which  will  form 
horizontal  and  vertical  lines  in  the  fabric  for  outlining  the  effect  pro- 
duced by  the  oblique  rib-weave.     Repeat:  18  warp-threads  and  18  picks. 


Derivative  Weaves: 


FROM  THE  REGULAR  TWILLS. 


I.    Broken  Twills. 


"  Broken  twills  "  are  derived  from  the  regular  twills  by  running  the  direction  of  the  twill 
one-half  of  the  repeat  from  the  left  to  the  right ;  and  the  other  half  from  the  right  to  the  left. 
These  changes  of  the  direction  of  twill  must  be  arranged  so  as  to  produce  a  well  broken  up 
effect.  By  means  of  this  break,  or  change  of  twill,  we  produce  a  like  change  of  the  twill  line, 
visible  upon  the  face  of  the  fabric  ;  hence  this  classification  as  broken-twill  weaves. 

The  first  number  of  harness  for  producing  a  broken  twill  is  four-harness,  and  the  regular 
twill  to  be  used  for  it  is  the  ~  3  twill. 

After  interlacing  the  first  warp-thread  in  the  first  pick,  and  the  second  warp-thread  in  the 
second  pick,  change  the  direction  of  the  twill  by  interlacing  the  third  warp-thread  with  the 
fourth  pick,  and  the  fourth  warp-thread  with  the  third  pick. 


■□nnanQd 
cm  mm 

■■■□■■■L]  ■  an 

■□nDB^Ga  L.    ■  . 

4r!'-a~"iTB^  ^aaaaaaja  G:_..a.j:_aaG 

I '  ~  a  ~    a  BaaaaaBa  aaGaaucn 

l~  ■        a     '  B'.lBBBi  JBB  GBDDDana 

m      U  IDBBBDBBB  •□□BDDaaa 

!         4  14  14 


□□□BDDDDDBDa 

□□□□■□□□□□aa 
Donaamaaaaam 

OOBDnaDDBDDD 
rB'^rr"  :'  :«nnnn 

a 

f.i  a 

1  1 

a 

'B  lUDDP 

.nnana 

■'ijnaa 

1 

a  ODB 

a 

'  a 

BGOa 
a  JGOQ 

IB 

a  jGoa 

Fig.  236.  Fig.  237.  Fig.  238.  Fig.  239. 

Fig.  236  illustrates  this  ^  4-harness  broken  twill  (filling  for  face  in  fabric). 

Fig.  237  represents  the  opposite  effect,  or  the  *  j  4-harness  broken  twill  (warp  for  face  in 

fabric). 

Fig.  238  illustrates  the  4-harness  *  3  twill,  broken  only  filling  ways. 

After  running  3  picks  on  regular  twill  from  right  to  left,  its  direction  is  changed  from  left  to 
right  for  the  next  3  picks.    Repeat :  4-harness,  6  picks. 

Fig.  239  represents  the  broken  twill  derived  from  the  six-harness  '  twill.  Three  successive 

warp-threads  are  interlaced  with  three  successive  picks  in  regular  twill  from  left  to  right,  and  the 
remaining  three  warp-threads  and  three  oicks  are  interlaced  in  the  opposite  direction  of  twill, 
i  e.,  right  to  left. 

n'-^Tj  an  ■  n  "G-nnan~r^a 
□□□□DDBDamDGaaDBaDQ  n    ::a::       :j    ::a:;  ,  i 

□□□□□□□■□□□aoGDaaaaa  ■  r:       ::a;3       ::    i:;a:-:  ] 

□GDaDannBGGDGGDGDaaa  <  ::m:}  :;aa 

nnnna^inmGnQBGaa  nammnTiannH  aDDGGDGaaaaGaamaaDB  '     ■         ::a  '  ::a 

ni  1    I  a     laaGGBGg  r       :;a:-;         ::a:;  i  aGGaaaGDGaGGaaaQGDGa  r.    :;b         [;    ::a  h  i 

[",'         a  '  ^GGGqaaQ  1  :;a:]  aDGBGGaGGaQQnaaDGGGD  [:a:;        c;    am:i  □ 

L  a  .ijGGGGGB  I  ::B  ::a  GGBaGGGGaaGaaGaGGaDa  ■  :;acj  :}a::       c;  1 

i.jj  a     .  .jjaaGGGG  r    ::■  :;a    i  ,i  i  DBGaGGaaGGGaGGGGGGGG  i:m::    ::        :;ac;    :)  ] 

□GB    ".LijQGBGaaGG  '  c:a[:  j  jgg  BOGaaaDGaaaGGGaaGaoa  ma  .  a::    :;  ao 

GaaGgGGnijaGGGGGa  c:a::         [:b::    -.cna  luGGCGaaaGGGaaGGaaGGaG  i"         a::  c:  a::  □ 

■GGGuuGaaQGaaaGG  a::  a:;     ugg  DGGGaGaaaGGGaGGGaDGa  a  n    ::a::       ::  :-.m:i 

SQauGauLjGGuGaaGGG  »■       a::  maam  aGaQGaGaaGCGGGGGoaQG  1  n  □    ::b::  :;b:; 

DDGGGBuGGGaGaaGG  I       :;b:;         :iaa  •  GaGGGGGGBDGaGDGGQGBa  I    c;        :;a::    ::  i:ma 

□aGaaGBGCGGGGGBG  ::a::         ::a::  GGGaGGGaGBDaaaGDGGaB  •  □  ::b  aa 

□qaaaaGBaqgaqqgB  ^        ■  :;b  ■       ^  :;a  DGGaaGGGGGaaGaBaoaDG  r:  ":;a  ::a  j 

□□□aqqaqaqgaqgaq  1  -  lib        i  .:;b  ,  aGGBGDaQGGGGaBGGGaGa  i    am::       a    aac-;    □  a 

□GBaoDGGQGBqquaq  L.aaa  .j  .  ._;aaaG.j,jj  QGBGGDGGGGGaBGGDGGaG  LGBQu  a  a    iHam  h'buhg 

□BGDGaaGGBaGGGGG  taBQGLju  JGQBHuGGGG  GBaGGGGaGCGBGaGaQaGa  QBHUUHnHuGHBaGGdCQaa 

■■GGGGGGgBaDGGaDD  iBaaaGGGaanGaGGGG  iBGaaacoGaGBaaDaaaDGG  iBaGGBaGaacBHCGBDaaau 

J  c  18  1  10  1  lu 

Fig.  240.  Fig.  241.  Fig.  242.  Fig.  243. 

Fig.  240  illustrates  the  ^-  -.  8-harness  broken  twill. 

Warp- threads  i,  2,  3,  4  interlacing  in  rotation  in  picks  i,  2,  3,  4. 

5.  6,  7-  8        "  "  "         8,  7.  6,  5. 

Fig.  241  represents  twill,  fig.  240,  arranged  for  a  fanc)'  combination  by  adding  .spots,  regularly 
distributed  over  the  entire  repeat. 

Fig.  242  shows  the  '  g  lo-harness  broken  twill. 


53 


Fig.  243  represents  a  fancy  combination  weave  produced  out  of  weave  fig.  242.  The 
original  lO-harness  broken  twill  is  shown  in  Fig.  243  in  the  same  kind  of  type  as  in  Fig.  242. 

Fig.  244  illustrates  the  regular  ?  ^  twill,  arranged  for  a  broken-twill  weave  (broken  in  the 

direction  of  the  warp).  After  running  six  warp-threads  in  the  direction  from  left  to  right  (regu- 
lar), we  form  a  break  and  run  warp-threads  7  and  8  with  the  twill  in  the  opposite  direction. 

T)       4.    o  wai  p-tn reads. 
Repeat  -       .  , 

picks. 

Fig.  244. 

By  means  of  a  fancy  drawing-in  draft  (i,  2,  3,  4,  i,  2,  4,  3)  we  can  arrange  this  weave  for 
four-harness,  having  the  foundation  weave  {-  ^  regular  twill  )  for  the  harness-chain. 

'□□□■■p«m»nDBBnnnnBBBnnr.rMB^n«nnBn«BnnnB«B 
<>BannnaBB-'iBn'^iiB ^H-ringBBriQ  ci'  ■rmmm'  i  '  Bananna  /~bb  '    '  bbb  '  "  '  ~Ba'~:'~  a  '  b'bb 

B'  .:  '  BBB  .   BB   a      aB  I  '   BBB^  Cli  B'  BB'  '     BBB  _   BB   B      B   i  BB  BBB  BB  B 

CiL..'  BBB        BBB        BBB        BBB  [  BB      m      M   BB   '  '  BBB        BB   B      B      BB  BBB  ' 

□I.:BBB  I  i   B  BB'J'  B   BBB.1.1  iBB  BBBL:.'  <  BB   ^  B  .   B   BB  .     BBB...  .  BB   B:. .   B   ..BB  . 

CIBBBUC.-.  BBJUBL.BBJ'JBBB  J_JJB  BBiJUUi-BBB^.uLiUBBUuB:^lja..<BB  J'jLiBBB  JLj^iBB^jBULBDiJ 

laBaaauaaBaDDBBaauuBBBjaa  laGDBGGBaGuaGaBBaDaaaaDaaauHuBaGauaBBLjoaaaa 

1  a       12       15  24  1  42 

Fig.  245.  FiG.  246. 

Fig.  245  shows  the  6-harness  3  twill,  arranged  as  follows  : 

9  warp-threads  twill  from  left  to  right,  break,  and  the  next 
3        "  "        "    right  to  left,  " 

3        "  "       "    left  to  right,  " 

9        "  "       "    right  to  left. 

24        "  in  full  repeat. 

Drawing-in  draft  will  call  for  6-harness ;  and  for  harness-chain  the  foundation  twill  - — 3  must 
t>e  used. 

Examples  Figs.  244  and  245  will  also  illustrate  and  explain  any  different  changes  in  using 
a  different  number  of  warp-threads  in  rotation  before  breaking  off  In  this  selection  we  have  an 
unlimited  variety  at  our  disposal. 

Fig.  246  illustrates  the  breaking  off  of  every  three  warp-threads  in  rotation  upon  the  /-har- 
ness - — ^  twill. 

Fig.  247  represents  5  warp-threads  of  the  ^  ^  ^  3  ^  ^  twill,  used  successively  from  the  left  to 
right ;  next  a  break  and  five  additional  warp-threads,  used  with  a  twill  arranged  from  right  to  left. 
These  breaks  may  also  be  applied  to  different  graded  twills  as  27° — 63° — 70°,  etc.,  and  which 
will  be  treated  under  the  sub-division  of  the  regular  twills  in  the  next  chapter. 

For  illustrating  this  point  Fig.  248  is  designed,  representing  12  threads  of  the  63°  steep- 
twill  ^2^2  ^  direction  from  left  to  right,  and  12  additional  threads  of  the  same  weave  having 
its  direction  of  twill  from  right  to  left. 

□Bnaa"B~BB  bbb'    bbb  "  bbb 

CGBBB..  BBB  ~  BB  B  BB  B  BB 
BGBB  .iaCBB  HB'  BBB  BBB  BB 
GBBB  BBB  B'^BB  B  BB  ~B  IB 
□BB'.  B  BB.iB  B  BBB  .BBB  I  B 
BBB    .BBB     iBBB~!BB   B   BB  B  : 

uannunmammmaanmamammm  bbub'Ibb  b  bb    bbb  ^  .bbb  .  j 

GriBGnBB':~BB'~inBiinBBnBB  BBiJ  .BBB      BBB   B   BB   B   BB  IB 

:  B        BBB   B   B        BBBHB  BCjB   BB   B   BB   B  '   BBB  BBB] 

B        B   BBB  B        B   BBBG  BGGBBB  :   BBB  B   B   BB   B  .BB  J 

Di  '  ..BB      BBB  '.     BBi  .   BBB  10GBL..BB   B   BB   BBB  'I  BBB  ~JBBB 

□i.BBB  .  .  .BB      BBB  .  mBB  DOBBB''  BBB     .BBGB  .BB   B  BB 

CBBB   B      '  B   BBB'  B  '  i.lfl  BuBB...'lB  BB  m  !BBB     .BBB  .  BB 

BBB'  B  M  <      BBB   B   B'  ,'GU  GBBB  '   BBB     B   BB'^B   BB '.B  IB 

BB  .BB     .B  .   BB   BB      UOa  DBB.  ~B   BB   B   B  .BBB      BBB  .B 

B  .BBB     .   B   Bi  BBB     .JBG  BBBG   BBB  .   BBB   BB   B   BB  B.J 

□BBB:.  B  <   .  .B   BBB   B     lOM  BBGB   BB   B  BB  i   BBB     BBB  "I'D 

BBB  .    BB        BBB   '  BB'IGG  BBC.'  ''BBB  i   BBB  'iB   BB  .B   BB  :B 

BB  ..  '.  BBB      BB  i      BBBGD  BOB   BB.  B   BB   B      BBB.    BBk  ] 

1BU..J-..B  .BBB.jBU:^uBuBBBa  lBGuBBBj_BBB   B  .B   BB   B  ,BB.G 

1                    1"  1  L'4 

Fig.  247.  .     Fig.  248. 

The  arrangement  of  a  steep-twill  containing  70°,  63°,  45°,  36°  grading,  combined  for  a 
broken-twill,  is  shown  in  weave  Fig.  249.    Repeat:  48  warp-threads  12  picks. 

The  foundation-twill  for  this  weave  is  the  regular  ''  i--^^  l2-harness  twill,  which  is  also 
used  for  harness-chain  if  using  a  cross-draw  for  drafting  weave  Fig.  249,' for  12-harness. 


54 


The  next  sub-division  of  "broken-twills"  out  of  "regular-twills"  is  found  in  arranging  the 

breaking  off  filling  luays.    For  example:  Fig.  250  illustrates  the  ^  ^  twill  broken  filling  ways 

after  every  four  successive  picks.    Repeat :  8  warp-threads  and  8  picks. 


□□HBnnnaE3BBBHaaDaDnnDHacnHOBBi 

r  ■■        ■■■  'mmm  ~ 

r::B  ■■■■■ 


■■■■■■ 
::  ■■■■■■ 
■■■■■■ 
■■■■■  I 
■■■■  I 


Fig.  249. 


IB 

■ 

;■■  'JM 
mm  C:B 

;□ 
■  '?n 
■c.mm  ~ '1 

::■  J 
1::  mm-] 
1  wa 
□■  J 

IB  ■■ 

■■■■'-'□□□■■■a 

"'  mm 

■■■  ■■■■ 
■■  ■■■■ 
■  ■■■■ 

■■0  ■ 

:■■  'CM 
mm  B 

■  □ 

■  U  J 

u 

■ 

■■■■ 
■■■ 
■■ 

■■■ 

■■ 

■ 

■■■ 

■■■■ 
■■■ 
■  ■■ 
■■  m 
■■■■ 
■■■■ 
■■■■ 

46 

1 

■■■ ... 

Fig.  250. 

ODDD 


Fig.  25 :  shows  the  ?  ^  twill  broken  filling  ways  after  every  four  picks.   Warp  ways  2  threads 

are  missed  after  every  6  warp-threads,  to  produce  an  additional  fancy  effect.  Breaking  off  regular 
(or  steep)  tiuills  in  the  direction  of  the  warp  and  the  filling  will  forni  the  next  movement  in  the 
construction  of  broken-twills  out  of  the  regular  twills.  In  this  manner  Figs.  252  to  255  are 
constructed. 


— mm  -    -m  mmm    mm  m 

Ci  ■■■  ■      ■■    ■■■  ■ 

G<    ■■■      ■■■      ■■■  ■■■ 

■I     ■■    ■■■  ■  ■■ 


■   ■■  BJG 
■■ 

■■  ■■  yju 
m  mm  ■□□ 

:;  ::raa 

::  □  a 
m^mm  m  m 

■■□■■□^□■■□■■□□a 


E  :::: 


B 

□B 


L'l     ■■■        ■■■  ■■■ 

mmm  m  mm  mmm  i 
raaa  ■  ■■■  1 


CL  ■■■  ■  mm 
ci   ■■■  ■■■ 


■■■  ■  ■■ 

■■  ■  ■■■  ■■  ■  ■■■  D 
■■■  ■■■  ■■■  3 
DC  ■■■  ■■■  ■■■  ■■■ 
□CBBB  B  BB  BBB  B  BB 
□■BBCJBB.  B  BBB  BB 
■■■UCGBBB  BBB  BBB  .a 
■■□□OBCBBB  BB  B 
^■□□□■■□□■■B.  ■  ■■GulBia 


BB  Bl 
I  BB 
BB  B 


■C  Bl 

□GBB 


Fig.  251. 

Fig.  252  is  obtained  from  the  ^- 


FiG.  252. 


ibdgbb    b  bb^.b    b  b 

Fig.  253. 


twill,  by  arranging  the  breaking  off  in  the  direction  of  the 
warp  and  filling,  after  every  6  successive  threads.    Repeat:  12  warp-threads,  12  picks. 

Fig.  253  has  for  its  foundation  the  regular  ?  r,  4-harness  twill.  Arrangement  forbreaking  the 

weave  after  warp-threads  8,  12,  16,  18,  20,  and  24,  thus  forming  twill  effects  of  three  different 
sizes  as  follows  :  2,  4  and  8  threads. 

Another  step  towards  figuring  for  broken-twill  designs  is  that  of  using  a 
motive  (effect)  for  figuring  by  means  of  the  two  directions  of  the  twill.  To 
illustrate  this  method  Figs.  254  and  255  have  been  designed. 

Fig.  254  illustrates  two  repeats  of  the  motive,  warp  and  filling  ways.  Fig.  255 

shows  this  motive  applied  to  a  broken-twill  weave  produced  by  the  3  twill. 

12  warp-threads  and  12  picks  are  used  for  each  part  of  the  effect  in  the  motive; 
therefore,  as  6  parts  compose  the  motive,  we  have  6  X  12  =  72  warp-threads  and  72  picks  the 
repeat  for  the  complete  design.  ■  in  motive,  is  illustrated  a  in  the  design ;  n  in  motive  is 
shown  K  in  the  design. 

Warp-threads  I  to  12  in  the  weave  equal  the  longitudinal  row  i  of  squares  in  the  motive. 
Warp-threads  13  to  24  in" the  weave  equal  the  longitudinal  row  2  of  squares  in  the  motive. 
Warp-threads  25  to  48  in  the  weave  equal  the  longitudinal  rows  3  and  4  of  squares  in  the 
motive. 

Warp-threads  49  to  60  in  the  weave  equal  the  longitudinal  row  5  of  squares  in  the  motive. 
Warp-threads  61  to  72  in  the  weave  equal  the  longitudinal  row  6  of  squares  in  the  motive. 


■□□roB 

□H-CB- 
C"BB 

■□■□C'BT 

"  mmT'\ 

C  BB 
LB  B 
■  B 

mm  1 

B  B 
■  B 

ea  B 

CB  B 

C'  BB 

B  ■ 
B  B 
BB 

C  BB 

CB_-B 

1  0 

BB 

B_  B_ 

Fig. 

254- 

55 


Picks  I  to  12  in  the  weave  equal  the  horizontal  row  i  of  squares  in  the  motive. 
Picks  13  to  24  in  the  weave  equal  the  horizontal  row  2  of  squares  in  the  motive. 
Picks  25  to  48  in  the  weave  equal  the  horizontal  rows  3  and  4  of  squares  in  the  motive. 


■■■ 

■■■  . 
■■■ 
:  ■■■  m 
■■■.]  .  ■■ 
■■  ■■■ 
■'  ■■■ 

■■' 
■■■ 

■■■  E 

■■  [:e 

■  e;:: 

■■ 

^EE^ 

nnE_^  EE 

^B      BBB  -'lamm 

^  BBB 
:BBB 

;   BBB  BBB^'J 
BBB        BBB  ] 
BB        BBB  ■ 
■      'mmm  urn 

c     ■■■      ■■■      ::::::      :}:::;  c::;:; 
c  ■■■      ■■■         ::::::      ::::::                ::::::  ::c: 
c.mmm      mam  c:::; 

■■■        mmn        f^r"i        r:nr'        r"'r'        r'r^r'  '-'^r^ 

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■  BB 
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■  BBB 
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BBB 
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&J    ::::::  ■ 

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"eee  ■" 

mm 
mmm 
mm 

■ 

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mm 
mmm 
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m 

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mmm 

mmm 

mmm  m 
mmm  mm 
mm  mmm 

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c.  mmm 

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■ 

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mmm  mm 
mm  mmm 
m  mmm 

c .  ■■■ 
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'm 
m 
m 

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mmm  i 
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I.; 

iE_-L 

''□□El. .. . 

E.^_ 

SEE 

ou 

■■■  H 

Fig.  255. 


Picks  49  to  60  in  the  weave  equal  the  horizontal  row  5  of  squares  in  the  motive. 
Picks  61  to  72  in  the  weave  equal  the  horizontal  row  6  of  squares  in  the  motive. 


Using  two  or  more  colors  in  Warp  and  Filling  for  Producing  effects  in  Fabrics  inter- 
laced with  Broken  Twills. 

In  Figs.  256,  257  and  258  we  illustrate  three  examples  of  effects  produced  upon  broken  twills 
by  various  arrangements  of  colors  in  warp  and  filling.    In  Fig.  256  the  common  ^  ^  4-har- 

■■□DBBDODDDDonDnaaaonnoD 
CBBnB::aB!^nnnDaannGnonnna 

ccmm^'nmm^-'^'^.  "7  ^ — "3 

mi^cm  mm  ■  "  'i-a 
nmm  m  m  -.o^ 
mm  mm 

m'^L.m  mm  i 

C]L^^      BB  :  J 

□L'C.&B  ■:•>:<    •:<•:<    >:••:<  aa 

Dec.  ea 

■■^■'    — -na  z-n                               Br-           •:■  v>:-.i.:-  esob 

■■■        E    :  a    -ma  mmm^    -em  -  sm  -  mm  ac 

■"■■      E      E    ms                              ■"■■-!  sm    e^.    sm                               nc  m  i 

CBBB                                                   CBBB  — ,                               DC  >:■.:•    .i-i  bb 

c  .                    '  JH                              r  ss-      >:-b    -i-m    am                               dp"  ese  ►;-•:<  kib 

Lc-f               >:•      la                              [  bb      .i-b    ►:<■    sm                               otrsa  .i.,i<  n.sa 

rj           •:•      ■:•    .  la                              i           -i-m    h-b    sm                               an  ■  i-.-^j  ■  sa 

c           >i      •:•      !a                              L.         -:<■    >i<m    mm                               ar'-  >:•    ■;■  n-- 1 

C'           >:<      •:•      ^'3                              i_a&      'IB    eb    sm                               d^^'h-k-  >:■•:<  .i<>i-a 

rs.l-  V  '2  r.BB        'I<B      EB      EB  DPL  EE  v-:-      'I-i  Sa 

r  v<      •!<      --J  ct-f       ►!■    '!■  ■  z<m  Dcr  •:■  .;.    e  i 

ti!    .     >i3        tJ  r^.t         E^,  ,  &■;  ,_£■  CDC.  ,  -.  EE    ,  .EE,     EE,  _.ffia 

Fig.  256.  Fig.  257.  Fig.  258. 

ness  broken  twill  is  shown  arranged  for  3  ends  light,  i  end  dark,  or  color  No.  i  and  color  No.  2,  in 
warp  and  filling.  The  effect  obtained  is  a  "  hair-line,"  very  extensively  used  in  the  manufacture  of 
worsted  and  woolen  trouserings  by  reason  of  the  clear  and  distinct  line-effect  this  weave  produces. 


56 


Fig.  257  illustrates  the  same  weave  (4-harness  broken  twill)  arranged  for  three  different 
colors.  Arrangement  for  warp  and  filling:  2  ends  light  or  color  No.  i ;  i  end  medium  or  color 
No.  2;  I  end  dark  or  color  No.  3. 

Fig.  258  illustrates  the  8-harness  broken  twill  (broken,  warp  and  filling  ways,  every  four 
threads),  arranged  for  2  ends  light  to  alternate  with 
2  ends  dark, 

4  ends  in  repeat  of  color  arrangement  and  8  ends  repeat  for  weave  and  effect. 


II.    Steep-Twills  or  Diagonals. 

The  next  sub-division  of  the  common  or  regular  twills  are  the  steep-twills,  which  are  derived 
from  the  latter  by  using  either  every  other  or  every  third,  fourth,  etc.,  warp-thread  in  rotation  for 
forming  the  weave. 

I  St.    Steep-Twills  having  6j°  gradittg 

are  obtained  by  using  every  alternate  warp-thread  of  a  common  twill.    To  illustrate  their  method 
of  construction  Figs.  259,  260  and  261  are  designed. 
j^jjMjM  3  Pig   259  illustrates  the  regular  i6-harness  twill, 

1  ■   ■■■■■■■   ■ .  '    1  1 

-■  .  ■    :  2     3  2' 

ByiasiM"  _■  Pig  260  represents  the  same  weave,  every  other 

IjiS  warp-thread  indicated  by  a  different  kind  of  type. 

iii""!"         ■■■■  ■□■■■CMD 

iS5aji5ddi"jdSSiis  ^^'S-  261  illustrates  the  steep  twill  or  diagonal  weave  5!SS"i5S 

jTjQ  2!;q.  obtained  by  using  only  warp-threads  shown  in  Fig.  sSv^g^S 


□■■■■■■a 


■■■■■ 


259- 

260  with  ■. 


■ 


This  example  of  constructing  a  steep  twill  out  of  a  ■FarSSSS 

g^Dsgft'sSiSi!!"!          regular  twill,  which  has  an  even  number  of  warp-threads  PcgSSSRS 

;  3*  ilSiSlS"^  3"  \         for  Its  repeat,  will  also  explain  that  the  former  requires  ESSS'i^S 

sjiSiSi"  b'^'   b^          only  one-half  the  number  of  harness  that  are  used  in  b5b 

BSBBBSB      ^        a  ,        r  ,      •  BB^BIB'::* 

SSS'f-B"'  i-  bI  the  foundation  weave.  SnB-izSS 
iSS^a'^i^ffl'^BlBiSi  Thus  the  present  example —  Fig  261." 

1  16 

Fig.  260.  16-harness  for  regular  twill  only  requires 

8-harness  for  its  corresponding  steep  twill. 
If  we  construct  a  steep  twill  out  of  a  regular  twill  which  has  an  uneven  number  of  harness  for 
its  repeat,  the  same  will  not  be  reduced  as  in  the  case  with  an  even  number.    Thus,  9-harness  in 

□aOCBBBCBCBBB 
□■GBBB~'.:rZBBB 
□'~7BBB  B^BBBJ 
B   BBB         ~  BBB^ 


liicaaauo .BBBBBD  isaDDBannsBSBBB  i'*:       bbi.b  bbb 

□□■^□□BBBBBB_  □□BQ^ZBBBBBaa  LB   BBB. :  BBB 

□■TrrBBBBBfciiij                                 re  sBHBaBcn  i-    bbb  b..bbb'j 

■'Z  :   BBBBBBjQa  B        BBBSBS^DO  B   BBB           BBB  J 

□Z.  BBBBBB  ~    SBSBBB  :~nB  L    BBB   B.  BBB  2 

CZBBBBBB       :■□  BSBBBB       "  BZi  BIB           BBB  B 

■  :  s^BSBsa  ■  'm'j3  ;  aaa  b~  bbb 

  BBBBBS        S     ]□  BBB          .BBB   B  : 


BBBB 


■■JuGBGZ; 
■□□□■□□Dl 


_  ZBI 
.^BBI 


BBBS.  .  B  .BI 
BBB„J^Br.l  LBBI 
■a-jLjaBGG_BBBi 
IBaaGHDGGBBBBI 


Fig.  262.  Fig.  263.  Fig.  264. 

the  regular  twill  requires  9-harness  for  the  steep  twill.  Again,  ii-harness  regular  twills  require 
I  l-harness  for  the  repeat  in  their  respective  steep  twills,  etc. 

For  example:  we  give  in  Fig.  262  the  regular  twill  known  as  ^3^3.     13-harness  repeat. 


57 


Fig.  263  illustrates  again  the  analysis  of  the  same  with  the  view  of  constructing  its  respective 
"steep-twill,"  which  is  illustrated  in  Fig.  264.  An  examination  of  Fig.  263  shows  warp-threads 
I  and  13  indicated  by  the  same  kind  of  type;  so,  in  constructing  the  steep-twill  after  using  warp- 
thread  13  of  the  common  twill  for  warp-thread  7  of  the  steep-twill,  we  must  use  warp-thread  2  of 
the  common  twill  for  warp-thread  8  of  the  steep-twill,  and  so  on,  until  warp-thread  12  of  the 
regular  twill  forms  the  last  warp-thread  (13)  in  the  repeat  for  the  steep-twill. 


□■■<  ■■ 

J:  : 

■■ JBB J 

M 

omrt  wo 

□■■iJBB 

■□□■fjG 

1  :J 

Fig.  265. 


■jhb:h 

□■■■lIBMB 


Fig.  266. 


□□BBBuCBBB 

BaBMLjBiwaa 

mmm    mmm  1 
■■■  ■ 


DDI 

□l  . 

arm 


■  ■■:3 

■ 

I  ■■□□B 

■■■Li'ja 

■■■C/^GB 


1!L 

n 


mmm 

mm 
■■■ 
■■  ■ 

■■ 

I     ■  ■■□□B 

■ 

a  ■■  ...cma 
mmm  xidb 

■   B«  'BOB 


Fig.  267. 


Fig.  268. 


These  two  examples  will  easily  demonstrate  to  the  .student  the  great  amount  and  variety  of 
steep-twills,  63°  grading,  which  can  be  constructed  out  of  the  common  or  regular  twills  of  45° 
grading. 

Weaves  Fig.  265  to  276  illustrate  a  few  of  the  steep-twills  most  frequently  used. 
Fig.  265  illustrates  a  3-harness  steep-twill  (63°)  derived  from  the  regular  twill,  ^  ^  ^  ^ 
Repeat :  3  harness  and  6  picks. 


BanaBGBBnnaBnH 
BDiB'  :~mm  ■■Q'^b 

□C^BB  imm  ''  BB  BB 
□BB  BB  BB  BB 
□BB  BB  BB  BB  3 
■B  BB  BB  BBH 
BB  BB  .BB  BB  .'J 
■      BB   BB      BB  fl 


l^nBBGGBBdBBQDB 

Fig.  269. 


ICDnBnBDBBODBDBnBB 
rBHB'BBB  ~B~~B'~BBB 
[  BTB'  'BB  B  B  BBTI 
B   B   BBB   B   a  BBBJ 

a  a  BB    a  a  aa  ] 
a  BBB  a  a  aaa  b 

a  BB  B'  a  aa  .a 
a  BBB  a  a  naa  aj 
a  BB  a  a  BB  bj 
aaa  a  a  aaa  a. .a 
BB  a  a  bb  a  b 
aaa ' a  a  aaa  a  a  3 
BB  ~a  a  BB  B  m3 
mm  m  a  aaa  a  a  jB 
BJ  ;a.  b^bb^..b:  bib 

IBDBGB^BBBjBPBlIBB 

1  8 


If.  ~BB  BBB^BB  BBB 

BB   BBB        BB  BBB 

BB      aaa  aa    <  aaaj 
BB  aaa      aa  bbbd 
a     .BBB  aa..  aaazB 

aa   BBB        BB  BBBGD 

aaa  aa  aaajLBB 
aa  aaa      bb  aaa'aa 
BBB  aa      aaa  aaa 
a  aaa      aa  aaa  .  i^m 
'  mmm  mm      mmm  bbgg 
BBB      aa  aaa   .  aa 

BBB   BB        BBB  BB/.nO 

BBB  BB  aaa  .  "..aaa 
aa  aa  aaa  aa  'am 
mm  ..  BB  aaa  .  aaca 
a  aa...  aaa.^aa  :bb 
iaa^Daa>.aaBaGoaBLLaa 

I  9 

Fig.  271. 


Fig.  270. 

Fig.  266  represents  the  4-harness  steep-twill  (63°)  derived  from  the  regular  8-harness  twill 

Repeat :  4  harness  and  8  picks. 
Fig.  267  illustrates  the  5-harness  steep-twill  (63°)  derived  from  the  regular  lo-harness  twill, 
2-    Repeat :  5  harness  and  10  picks. 


1 

2  1 


IBB  a  .aaaa  aaaa  n 


□BBBB  aaaa. IB  aaaa  aaaaja 

Ba..:.:Ba..  aa.]  .aa  .  aa  i^aanj 
aaaa  aaaa  :a  laaaa.  aaaa  a  i 


mm  .:Baaa  a  aaaa  aaaa  a  aa 
□aa    BB   .aa    aa    aa    aa ] 

BOBflBB   ■   BBBB   BBBB   B  BBB 

BB':.'  BB      BB      BB      BB      BB  ,  ] 

□aaaa  a  aaaa  aaaa  a  aaaa 
aV'  aa  aa  aa  aa  aa  a 
aaaa  a  aaaa  aaaa  a  aaaa : 
D  aa  aa  '  .aa  aa  aa:.]  aa 
aaa  a  bbbb  aaaa  a  aaaa  a 


■Cl 


BBBB 


BB      BB      aaaa  a 

□nqBBBB      aa '    aaaa  g^"' 

□□aaaa  ;  aa  '  laaaa  aa  i 
B'jaaa  aaa  aaa  'aaa  aaa  aa 
□aaaa    .  aa      aaaa      aa  j 

iaaa      aa  .    aaaa     -BB  .1 


iBaaaaanaaaGBBLjaBauuaaaai 


Fig.  272. 


laaDuBBaucaaaauLuBBUuDaBB 

1  12 

Fig.  273. 


5  1 

2  4- 


Fig.  268  represents  the  6-harness  steep-twill  (63°)  derived  from  the  regular  12-harness  twill, 

Repeat :  6  harness  and  1 2  picks. 
Fig.  269  illustrates  the  7-harness  steep-twill  (63°)  derived  from  the  regular  7-harness  twill, 
-3.    Repeat :  7  harness  and  7  picks. 


58 


Fig.  270  illustrates  the  8-harness  steep-twill  (63°)  derived  from  the  regular  i6-harness  twill, 
Repeat:  8  harness  and  16  picks. 


Fig.  271  represents  the  9-harness  steep-twill  (63°)  derived  from  the  regular  1 8-harness  twill, 

2^      2-    Repeat:  9  harness  and  18  picks. 
Fig.  272  illustrates  the  12-harness  steep-twill  (63°)  derived  from  the  regular  24-liarness  twill, 
2 — 1  Repeat:   12  harness  and  24  picks. 


Fig.  273  represents  the  12-harness  steep-twill  (63°)  derived  from  the  regular  24-harness  twill, 
1  \  ^  1  ^  1  ^  1  ^  2-    Repeat :  1 2  harness  and  24  picks. 


aamn-im^mm  ■■■■ 

□■ni^'B  ■■  ■■■■ 
□□■    ■  ■■ 
morm  mm  ■■■■ 


■■  ■■■■ 
■  ■■  ■■ 
■■  ■■■■ 

■■  ■■ 


■nnnBBi 

c~  ■■■ 
(:■■■■ 
r  ■■■ 
■  ■■  ■ 
[  ■■■ 
[  ■ 


isaamoamanmrnammamm 

□■<  '  ■m.'m  -mm  mmj 
arm  ' 

■  ■  ■■ 

□■  ■■■■  jQ 

C_.B  ■■  ■■  ■■  GM 
■l^      ■■■■   ■■■■  JD 

cm    mm  mm  mm 

:rM 

■L   ■■  ■■  ■■    ■  "n 

OnBBBB  ■■■■ 

■■  ■■    ■  ja 
■■■■ 

□■■  ■■  ■■    ■  mz) 

■  ■■■    ■■■■  ■  J-! 

mm  ■■  ■■    ■    ■  J 


■■■ 
■■■■ 


Fig.  274.  Fig.  275.  Fig.  276. 

Fig.  274  illustrates  the  14-harness  steep-twill  (63°)  derived  from  the  regular  28-harness  twill. 
Repeat:  14  harness  and  28  picks. 


1      1      z      2      z      .5   1   --r   1 

Fig.  275  represents  the  15-harness  steep-twill  (63°;  derived  from  the  regular  15-harness  twill, 
-^-J-r^.    Repeat:  15  harness  and  15  picks. 

Fig.  276  represents  the  i6-harness  steep-twill  (63°)  derived  from  the  regular  32-harness  twill, 
1^  4^  2  '"2~^-    Repeat:   16  harness  and  32  picks. 

2d.    Slecp-Tivills  having  a  grading  of  70°. 

These  twills  are  derived  from  the  regular  twills  by  using  every  third  warp-thread  in  rotation  for 
the  construction  of  the  new  weave.  To  give  a  clear  understanding  diagram 
No.  277  is  designed.  A  represents  one  repeat  of  the  regular  twill  known  as  the 
■•-jJL  8-harness  twill;  B  illu.strates  the  drafting  of  the  different  warp-threads 
according  to  previously  given  explanation  for  forming  C,  the  new  design. 


1.  %.  J  H  5.  fe.  7.  8 


i 

B 


1 


c 


I  2.  J.  H.  5,  6.  T  «• 
Fig.  277. 


Fig.  278. 


■□■CHUGS 
□■□□■■□■ 
□■■□■□■□ 

■□□■■□■□ 
■■□■□■□□ 

'■□■□□■■l^ 

Fig.  279. 


vacnmjoomwm 
□□■□□□■■■□ 

■  ■■■^□Q 
■  ■■  □■ 
■  ■■ 

:  ■■■  .  n 
mmM'  .  ■.']□□ 
■■□.JDBQaa^ 

!■□□□■□□□■"" 


10 


Fig.  280. 


■ 

■  ■□ 

I  ■  ]■□ 

I  ■  jG 
■ 

■  ■□ 

■  :□■ 

■  ■  la^ 

■  ■'!■ 

■  !■□ 

■  '  ■□ 

■  ■  ■□ 

■  m'm 


isnnnpninn^BBBB 
P' m ^'  1 
rm  ■■■■■  j 
■  ■■■■■ 
[  ■■■■■  ■ 
t. ■■■■■  ■ 
■ 


■■□□□■□Dub 

Fig.  282. 


□■□■□■□■ 
□□■■-^□■^ 
□"■■:"■■ 
■  ■  ■  ■□ 
■■□ 
mma 


[ 


Fig.  281. 


□□■ 

□Dl 
■r.il 
□■■ 

cm 


IB-li  ■■  .  J 

1  4 

FiG.  283. 


Arrangement  of  drafting:  1,4,7,2,5,8,3,6.  Repeat:  8  harness,  8  picks. 
Fig.  278  represents  the  regular  twill  known  as        p  and 
Fig.  279  represents  the  steep-twill  (70°)  derived  out  of  it.    Repeat :  8  harness,  8  picks. 
Fig.  280  the  regular  twill  is  shown,  arranged  for  a  70°  steep-twill  in  Fig.  281.  Repeat: 

10  harness,  10  picks. 


59 


Fig.  282  the  regular  12-harness  twill  ''3^3  is  shown,  arranged  for  its  70°  steep-twill  in 
Fig.  283.    Repeat:  4  harness,  12  picks. 

Fig.  284  illustrates  the  regular  15-harness  twill  ^  2  ^  2  ^  2'  ^"'^  ^^S-  285  the  70°  steep-twill 
derived  out  of  it.    Repeat:  5  harness,  15  picks. 

Fig.  286  represents  the  70°  steep-twill  designed  out  of  the  regular  twill  ^3^3  (shown  in 
Fig.  262,  page  56).    Repeat:  13  harness,  13  picks. 

Fig.  287  illustrates  the  steep-twill  having  70°  grading,  which  is  derived  from  the  regular 
twill  ^  2^  3^  2  (^^^  ^^S-  259,  page  56).     Repeat:  16  harness  and  16  picks. 


mma    m  i  ■■    ■■    ■■  ?■ 


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umm  m  mm    mmr.  mm  .  ■■■■■  ■■ 

cmm    ■■■■■]  ■■      ■■  ■■■■■ 


■  ■■■■■■  ICD  ■■■■■  ■■ 

ISDDBB  ■   ■■   ■  □;.  


□I 


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■■    ■■■■■    ■■  1  r  ■■    ■■  ■  ■■  ■■ 


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umm  m  mm    mm  1  □■■    ■■■■■  ■■as 

n^^  '■■■■■:  □■■      ■■  ■■■■■3 

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—  .  

■□■■□  ■□■:  .«■  juaaGDi 


■■□□■■□'  mm  □■■■  ■□□■■■□□■■  ■□□■■□■□■■□□■  ■J'j-i^^'^JH^a^^'JDH 

!■□□■■□::■■-. -■■■«  iBaGjaaJDaaaaoMBB 

1  n  1       6  1  13  1  16 

Fig.  284.  Fig.  285.  Fig.  286.  Fig.  287. 

These  few  examples  (Figs.  277  to  287)  will  easily  explain  the  method  of  construction  for 
these  weaves;  we  would  only  add  that  if  the  number  of  harness  in  repeat  for  the  regular  twill 
can  be  divided  by  3,  the  number  of  harness  in  repeat  for  the  steep-twill  will  be  reduced  one- 
third,  as  follows : 

12-harness  regular  twill  to  4-harness  steep  (70°). 
15      "  "         "  5 

18     "  "         "       6     "        *         "    etc.,  etc. 

Any  number  of  harness  repeat  for  a  regular  twill  which  cannot  be  equally  divided  by  3 
requires  the  same  number  of  harness  for  the  steep-twill  as  is  used  in  its  foundation  twill. 

jd.    Steep-Twills  having  a  grading  of  , 

Weaves  of  this  sub-division  of  the  regular  twill  of  45°  grading,  are  derived  from 
the  latter  by  using  every  fourth  warp-thread  in  rotation.  In  constructing  75°  steep-twills  out  of 
regular  twills  having  a  number  of  harness  for  their  repeat  which  can  be  divided  evenly  by  four, 
only  one-fourth  the  number  of  harness  are  required  ;  for  example : 

12  harness  "  regular"  =  3  harness  "75°  steep." 
16       "  "  =4 

20       "  "        =5       "        "  " 

24       "  "        =6       "        "       "      etc.,  etc. 

Again,  in  constructing  75°  steep-twills  out  of  regular  twills  having  for  their  repeat  an  even 
number  of  harness  not  called  for  in  previous  rule,  the  number  of  harness  required  is  lowered 
one-half ;  for  example  : 

14  harness  "  regular  "  =    7  harness  "  75°  steep." 

18       "  "        =  9 

22       "  "        =11  " 

26       "  "        =13       "        "       "      etc.,  etc. 

These  two  given  rules  will  readily  explain  a  third,  as  follows : 

Every  regular  twill  of  an  uneven  number  of  harness  for  its  repeat,  if  used  for  the  construction 
of  a  steep-twill  of  75°  grading,  requires  every  warp-thread  of  the  former  used;  or  in  other  words: 


60 


Steep-twills  of  75°  grading,  constructed  out  of  regular  twills  having  an  uneven  number  of  harness 
for  their  repeat,  require  an  equal  number  of  harness  for  the  former ;  for  example : 

9  harness  "  regular"  —    9  harness  "  75°  steep." 
=  11 
=  13 

=  15  '      etc.,  etc. 

To  give  a  clear  understand- 
ing of  the  construction  of  the 
75°  steep-twills,  diagram  288  is 
designed,  illustrating  under  A 
one  repeat  of  the  regular  twilL 
^      ^  =15  harness. 


1 1 

I  2  5.  >(  5  6  7  8.9  10.11  Ills  IV  IS. 


B. 


is 

P 

1 

1 

[ 

■■ 

■■  J 
■■ 

■  ~j 

■■■■■■  .  ■■ 
■■■■■■  ;  "mm  : 
■■■■■a   'mm  ' 


1  2  3  4  5  6  7  8  91011IZ.13  I1.1S 
Fig.  288. 


B  illustrates  the  drafting  of 
the  different  warp-threads  (after 
rule  given  at  beginning)  for  form- 
ng  C,  the  new  design. 

Arrangement  of  drafting : 
I,  5,  9,  13,  2,  6,  10,  14,  3,  7,  II, 
15,  4,  8,  12.  Repeat:  15  har- 
ness, 15  picks. 

Fig.  289  represents  the  regu- 
lar twill,  '  i-  for  16  harness 
repeat. 

Fig.  290  shows  its  75°  steep- 
twill  derived  by  drafting  i,  5,  9, 
13.  Repeat:  4  harness,  16 picks. 

Fig.  291  illustrates  the  steep- 
twill  of  75°  grading  which  is  de- 
riv^ed  from  the  regular  twill  of 
45°  grading,  VV  =  ^3  har- 
ness. (See  Fig.  262,  page  56.) 
Repeat:  13  harness,  13  picks. 


Fig.  289. 


□□■'^□1 


■□□■■r 
■□□■■c 


■■■■■ 


■□□ 

■  2D 
■□□ 


2ua 


■□□ 
■□n 
■□o 


':MZ.-M::^-  

■■□□■□□■□a|P 


Fig.  290. 


Fig.  291. 


III.    Reclining  Twills  127°  grading). 

This  sub-division  of  the  regular  twills  has  its  principle  of  construction  very  nearly 
related  to  the  ones  given  regarding  the  steep-twills  ;  in  fact,  points  given  in  the  latter  as  to 
warp  will  apply  in  the  present  sub-division  of  twills  to  the  filling.  Therefore  in  constructing  a  twill 
of  27°  grading  out  of  a  regular  twill  of  45°  grading,  we  only  use  every  alternate  pick  of  the  latter. 
For  example.  Figs.  292,  293,  294,  295,  296  and  297. 

^■■■□□□nB  saafflDagaffl  BP5R22S5WPPP£SSS 

■■  -7"BM  b:    ^ega  ■■■■       -a55"  H 


■5553  a  uysawaj  hha-SS"" 


■■■■ 


Fig.  292.  Fig.  293.  Fig.  294. 

Fig.  292  represents  the  regular  8-harness  twill  ^  4.    Fig.  293  illustrates  the  same  twill 

analysed,  every  alternate  pick  indicated  by  a  different  style  of  type.  Fig.  294  represents  the  new 
weave,  derived  from  weave  Fig.  293  by  using  only  picks  i,  3,  5  and  7.  Repeat:  8  harness  and 
4  picks. 


61 


Fig.  295  represents  the  regular  twill 


=  9-harness.    Fig.  296  is  its  analysis.    Fig.  297 


is  the  reclining  twill  derived  from  the  latter.    Repeat :  9-harness  and  9  picks. 


aamaammmm 
□■□□■■■■a 
■□□■■■■□a 


'  ■  . ■■■■  J 

I  aaaa  ..a.i 


■■    ■  ■■■ 

■  ■^□■a 

■  ■■■■ 

■  ■■■■ 

■    ■■■■  ■ 

■■■■no 

■ 

■■■■  '  m'l 

■■■     ■  ■■ 

■■    ■  ■ 

»     ■    . ■■■■ 

■  ■■■ 

cm  ■■■■ 

■    ■■■■ J 

G  ■■■■ 

■ 

■■■■      ■  ■ 

mm    m  umm 

■    ■  ■■ 

D  ■  ■■■■ 

■  ■■■■ 

■     ■■■■  ■ 

■■■■ 

L~:aBaB  ■ 

■  ■■■    ■  : 

■■■    ■  ■■ 

■■    ■  I  ■ 

m'"  m  ■■■■ 

■  ■■■ 

□■ _  ■■■■  . 

■  ■■■■J 

1 


Fig.  297. 


Fig.  295.  Fig.  296. 

These  two  examples  will  clearly  illustrate  the  method  to  be  ob.served  in  designing  reclining 
twills  for  any  number  of  harness.  Regular  twill  weaves  with  an  even  number  of  picks  in  repeat 
reduce  to  one-half  the  number  in  the  reclining  twill ;  again,  regular  twills  with  an  uneven  number 

of  picks  for  their  repeat  require,  if  changed  to  reclining  twills,  the  same  number  of  picks. 

520 


Diagram  for  illustrating  the  construction  of  steep  twills  of  52"^,  63'^,  70°  and  75°  grading, 
and  reclining  twills  of  38°,  27°,  20°,  and  15°  grading. 


62 


IV.    Curved  Twills. 

This  sub-division  of  the  "  twills"  is  derived  by  a  combination  of  "regular"  45°  twills  with 
63°,  70°  or  75°,  or  similarly  graded  "  steep-twills."  One  kind  of  these  twills  is  run  for  a  certain 
number  of  threads,  after  which  the  run,  without  forming  an  interruption,  is  changed  to  the  other 


(^^□■■■□□■■□■■□■■□□□■■■□□■■□■■□■a 


■■■  ■■  ■■ 


■  ■■■    ■    ■  ■ 

■■  ■■■    ■■  ■■  urn 

m    m      mmm      m  m 
■■  ■■    ■■■      ■■  ■■  mmj 

■■■  .  :■■  '  m  ^  m    mmm      mm  jM    m  a 

iBDLjaBaaGUBGaBGaaaaaaaaMaaBaaaaai' 


(CO  mmm 


10 


a2 


□riBBBI 
GBBBB 


□:  .  BBI 

□r  BBBi 

□BBBB 

■BBB 

■BB 

BBjGU 
IBQGGGI 


innBBDnBBDQDDl 


■□□■■□ni 

TGPBBGGl 
~  ~BB'~'.'~BI 


BB'  mm 
mm  mm 
mm  BBG 

BB  BBG 

B  ,  mm  ij 

m  MB'JG 
■  BB'  j._BBBGGU  BBBGuBBi  jGB 
■GGBBGDBBaaaGBBBBaGBBaDB 


■B  BBBB 


16 


32 


45P  twill. 


6}"  twill. 

Fig.  298. 


45^  twill.        63°  twill. 

Fig.  299. 


system.  The  same  twill  which  is  used  in  45°  must  also  be  used  in  the  construction  of  the 
steeper  twills. 

The  following  few  designs  will  clearly  explain  the  method  of  constructing  curved  twills. 


□□□□■■■■GnBBGGBBnnonBBDnBBBBGnnnBBOCBBmBBBB 
□GGBBBB  :  ~Ba':VGBBnG'-'-BB''':nBaBBGGG'nBB'~'i  BBP' WaBBG 
UGBBBB        BB'  '  'BB     "  1BBB  ~'   BBB     ''l?BBB      BB  '  'BBB' 


^  BBI 

B      BB      BB           BB  BBB 

B 

BB      BB  BBBBG 

L  .LjBBBB 
□BBBB 

;   BB      BB     :   BBB  BBB 
BB      BB        BBB  BBB 

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BBB     BB  BBBGGG 

BBBB 
BBB 

BBG'.  :.  J 

IBGOUGB 

1 

BB      BB      BBBB  BB 
BB      BB  .   BBBU  BB 

BBB.:_.BB^.-BBB_.  1.  BB 
BBGUBBGGBBBGGGBBGGGB 

8                      16         20  21 

B 
B 

B 
B 

B 

BBBB      BB      BB  /JGG 

BBB'JJBB      BB  j.  iGGB 
BB     .  _BB  BBGGGBa 

aG^..^BaauaBauGaaB 

^2                     4()  « 

45° 

63O             iS°  frjO 

45°                63O  45' 

Fig.  300. 

Fig.  298  illustrates  the  curved  twili  obtained  from  the  '  3  twill.    8  warp-threads  are 

designed  in  the  regular  45°  twill  and  8  warp-threads  in  its  63°  steep-twill  =  16  warp-threads 
repeat.    Drawing-in  draft:  i6-harness  straight  draw  or  6-harness  .section  draw. 


BBBrB"B'  'I' 


□□DBBB        BB  B' 

□□L  a    a  BB  B  a 

BBC  a  BB  BBB  B  Bl 

DGBBBB   BB   a   a      BB  '   B   B  BBI 

GGB  'BB  '    B      BBB  ..a   B  BBBI 

BGB  '    aa  a      aaa  a  aaa 

□BBBB   BB      a      BB  a  BBB 

□BG.     BB   a        BBB   B   B      BBB  I 
OBG      BB      a   BBB.B   B      BBB  B 
BBBB   a   a        BB  BBB  B 

bg:.:  aa  a  aaa  a  a  bbb  a  ■ 
BG'.    a  a      BB  a  a    aaa  ...  a 

BBB. a      a   BB  BBB      B  B 

BBB        BB   a   B      BBB   B  B 


-■f-aanncBGacGGrBBi 
a  '  'BB  JGGGGaaaai 
■      a   J  :g  'Baaaaai 

aa  J  ,  'i  aBBBBBBB 

a  aaBBBBB 


a      a        BBBB  a. 
BB      a        BBBB    a  a  : 
a      aa        bbbb    a  a  ai 

I  .      a  .  .i  I.  BBBBB  ..a  .  Bl 

aa  '  .  aaaaa  a  '  a  aai 
a  BBBBB    a    a  aaa 

I  I      BBBBBB    a  '  a  .  aaa 
aaaaa      a    a      aaa  ■ 
Baaaaa  .    a  >  a  .  .  aaa  a 
Baaaaa    aa  '  a    '  aaa 


■  a  aa  a    a  ] 

■   B      BB  BBI 
BB   a  '  BBB 


UGBBBB   BB   a   a  BB 
GGB  BB      a      BBB  I 

BGB      BB  B      aaa  a 
□BBBB  BB    a  aa 
□BG    aa  a      aaa  a  i 

□B'G      BB      a   BBB   B  B 

BBBB  a  a  aa 

BG'_  .aa    a  aaa  a  a 


■a    a  B 
■aaa  ■ 
■  a  aa 

B  Bl 


BB  a    a  J 


GBBBB  aa    a    aa        a    aaa    a    aa        aaaaaa  aa 

□a   .  aa  a      aaa  .a  .a  .  aaa  .a    b    j  :  aaaaaa  .    .  aa  l 
BB      BB    a  aaa  a  a    aaa    a    a        Baaaaa        a  ■ 
BBBB  a  a      BB  aaa  a    a        bbbbb      aa  aa 

a.    .BB    a  aaa  a  a^.^  bbb.bi    a  '  .  bbbbbb    >  a  .    i'  bb' 

B  B...B...J..BB  'B'^B.^^BBBl  ;JG_.a'^..._BBBBB.  L.'   BB-;  :^';Ba'_  LiGLJ. 

IBBaGBuGBGBBGGUUHUBBBGUBDBGGGBBBBBGGUBuG^BBGGQGGul 


Fig. 


301. 


Fig.  299  illustrates  the  curved  twill  obtained  from  the  *  twill.    8  warp-threads  are 

designed  in  the  regular  45°  twill  and  8  warp-threads  in  its  63°  steep-twill  16  warp-threads 
repeat.    Drawing-in  draft:  i6-harness  straight  draw  or  8-harness  section  draw. 


63 


c:  ■■■ 
C  ■■■■ 


Fig.  300  illustrates  another  curved  twill  obtained  from  the  ^  twill. 

Warp-threads    i  to   8  call  for  the  45°  regular  twill. 
■"  ■55!"1  9  to  16      "      "     63°  steep 

■■!5''«"1  "         17  to  20     "      "     45°  regular  " 

"  21  to  24  "  "  63°  steep  " 
"         25  to  32      "      "     45°  regular  " 


"         41  to  44     "      "     45°  regular  " 
Repeat  of  design:  45  warp-threads,  8  picks. 

Drawing-in  draft:  8  or  i6-harness  section  draw.  ' 

Drawing-in  Draft  for  13-Harness. 

won    ■         ■        - 'srnnm' rrt   ''-yi  ■-,  mm  t  ijDODDDDDamDDDDnBDDDmnDDnnnDnDDDnnnDnnDBDDQcnDHDaDn 
DM  '  :  t  m' "irw- -\         m  .innnaDDanccnDDMDDaDDonnammDHDnDDDDaQBGmanaDaaDaa 

ai'  m  ,mjy'.  ■  >  jnDDDaPnnnnrnBDDnDDmDDDDDaDDBDQD^nn^n^nnnnDDDBumDB 

□□LjBUU._i^L,._-J._Lj_.On!JDD  .  ■  .UL:UGDDmCr  J  C  ni  ■■CODDDDDDDGnmDDBDD':  r    •  '  r         ,  r  ■^□□□□□□□qo 

□□□□□□□□■□□□□□□□■□□i:  'I     i  .  !■    '  ■    lanaoDDDDi- 1'  1  '       ~  '     ' '  m  '□□■□□□□□a 

□□□□□□□□□□□□□□□■□□□n  '■  ■■         .CnDDDDDDDDDDDBDODDi  JDDDDDDBn 

□□■□□□□■nnafDmcmna. .    .       _        -onaanaaDBB         ..cDDDaDmocccBDDacLc    .    ■       .  jdbddddddd 

□□□□[:nai"i  !:iG:K  1  ■GGGGG_jaG'B"J.JLI_jiJijjJQGDGaaaBGLjLj._jUUl  JuGGaGDGDDGDGBDGaaGGGGuljBiJuj.  ja  iLJJaaDaGDDGa 
□GDGDDB'  r  m  .laaaGaGaaaGaGGGGGGDaaGaHHGGGGGGODGGGnDCDGaaGBaDaQGaaGGDBaQULJGGGaBDGGDGBGa 
□■GGGCr  jGGaGGGDBGGDGGGGGaaGaGBDGGDnODaGGDDDGDGGDGMGGaGDGGGGDGGaGCGGnDnDGGDDGQDa 
□GGGGB  ■  uGaGaGaBaaGGGGaDaGGDBBGDDGGGGGGCQGQGDDaDDBDGGGGGDaQaaQBGaGaGDGGHDGaGaGGGG 

.□GaGGaai:)L;ijLiB._iGuGGGnGHGGGGaaGGGGGaBaGDGGaGGGGDDGGGDGGGGHGGGGDaaGaGGaBDGGGQaGGBDGOGDCBaDG 

iHDGaaaDaaaaaaGDaaDaGaaaGaaDDaoaaHaaGDGQDDDGDaGaaGaGDBBDDaGDDaDDDaDBDQDaacDDDDDDDaQDaaiiG 

1  87 

Fig.  303. 

Fig.  301  represents  a  curved  twill  with  87  warp-threads  for  repeat,  which  is  obtained  from  the 
regular  ^— 3 — ^^-^ — 13-harness  twill  (shown  in  Fig.  302)  according  to  draft  represented  in  Fig. 
303,  and  thus  will  readily  explain  itself,  as  the  drawing-in  draft  also  clearly  indicates  the  different 
grading  of  the  twill. 

V.  Skip-Twills. 

This  sub-division  of  our  regular  or  foundation  twills  embraces  the  weaves  in  which  the  twill 
line  does  not  run  continuously  through  the  entire  design.  In  their  general  appearance  these  rep- 
resent a  combination  of  parts  taken  from  a  regular  twill. 

They  are  designed  as  follows :  After  drafting  successively  2,  3,  4  or  more  threads  from  a 
regular  twill  for  the  new  weave,  skip  (or  omit)  I,  2,  3  or  more  threads;  draft  again  2,  3,  4  or 
more  successive  threads,  then  skip  again,  and  continue  in  this  manner  to  draft  and  skip  until  you 
get  the  repeat  for  the  new  weave. 

We  can  arrange  this  skipping  in  the  direction  of  the  warp,  in  the  direction  of  the  filling,  or 
in  both  systems. 

1st.  Skip-  Twills  in  wJiicJi  the  Skipping  is  arranged  for  the  Warp. 


Fig.  304  represents  the  regular  4-harness  twill 


2- 


Fig.  305  illustrates  the  skip-draft  reading  as  follows:  Take  two,  miss  one,  four  times  over;  or 
I,  2,  4,  I,  3,  4,  2,  3. 

GnBOBBnB  GnBBGBBnBBnnBaCB 

C'B'  '  ■ 

■■  ■    a  .  ■■■■■■  eOGGlH 

■!■■■     !  ■  :   ■      ■■   ■■   BSGG  GGHBD 

4DGBB  ■iDGHaGBaa  m  mm.  m  •  4DDDBGaBaGBGGBaGa  ^ij  ■■    ■jub  qbmgg 

GBBG                  DGGGBGaB                   □■QGBDBB                   DGBGaBGDBQGGQGGH  I          ■■uLB  JGBLi.jBB  ■■■GGG 

■■GG                  GUGGGGSG                   ■■DBGOBG                   □■GGBGDGGGGBGaBG  ■■□QBfjQBGGBBGBBG  BaGGGB 

IBGGH                IBQGBGGGG                IHGBBDBGG                IBDGDDGDBGGBGaBaa  IBGGBGGBBaBBGBBDG  IBGQGHB 

1418191                                       16  1                                       16  le 

Fig.  304.  Fig.  305.  Fig.  306.  Fig.  307.  Fig.  308.  Fig.  309. 

Fig.  306  represents  the  skip-twill  derived  by  means  of  draft  Fig.  305  from  the  ?  ^  4-harness 

twill  shown  in  Fig.  304.    Repeat:  8  warp-threads,  4  picks. 

F'g-  307  illustrates  a  second  kind  of  skip-draft  for  4-harness,  reading  as  follows:  Take  four, 
miss  one,  four  times  over;  or  i,  2,  3,  4,  2,  3,  4,  I,  3,  4,  I,  2,  4,  I,  2,  3,  which,  if  applied  to  the 
4-harness  twill  ?  2  shown  in  Fig.  304,  will  produce  the  design  as  represented  in  Fig.  308. 

Repeat:  16  warp-threads,  4  picks. 

Drawing-in  draft:   Either  i6-harness  straight  draw,  or  for  4  or  8-harness  with  a  section 


64 


Fig.  309  is  the  6-harness  ^  3  twill. 

Fig.  310  represents  a  skip-draft  reading  as  follows:   Take  six,  skip  two,  three  times  over. 

This  skip-draft,  if  applied  to  the  ~  3  twill  (Fig.  309)  will  produce  the  weave  of  a  skip-twill,  as 

shown  in  Fig.  311. 


□□□■■■□■■■□ni 
cmmm  nmm 


onna 
rrrnm 
mmm 
mm     mmm  i 
■■■  ■■■ 


onz  ' 

□□'15  .     .       J    .      .  JJGB 

□□■tLL'j      uu  tjuma 

□■□□□□□□□□□«□□□■□□ 

lBDaDDDOGGa«GDDBGGG 


OLD  ■! 

□:;■■{ 
□■■■ 


1 


18 


Fig. 


310. 


m.,.  mn 

!□□■■□□■ 

Fig.  311. 


-Mm 

■  ■■L 

■■□■ 


■■ 

■■■ 

JBBBJ 


Fig.  313  shows  another  variation  of  the  skip-twill,  derived  from  the  common  twill  ?  j 

(Fig.  309)  by  means  of  skip-draft  illustrated  in  Fig.  312.  The  latter  reads  as  follow^:  Take  three, 
skip  two,  six  times  over",  twill  from  left  to  right;  take  three,  skip  two,  six  times  over,  twill  from 
right  to  left. 

Repeat:  36  warp-threads,  6  picks. 


□□□■□□■■□■■■□■■□□■□I 
□□■□□□■□□■■□■■■□I — 

□■■nDBnmB^GBBDBI 


 ^□□■□□□■□GB 

□□■□□□■□□■■□I 
nrrBr-'i-BB'-  BBB  " 


GGnaGD  !    -  !  - 

□□□□□□ 

gghgd: 

OSGDGIl 

IBGGGBDl-jlJjj^^- 


-nQBDCDDnDOnDBDa 

""LiGGGDnnBaanBG 

IGDGBGDGBDDGH 
■□■□GDHDGDHr.UG 
.  J JGBGGQBGDGnGG 

^^■□□□■□□□□□□□□g 


c 

CI 


B      BB   BBB  BB 

BB_.BBB.  BB   -  B 

..BBB^.aB^.~..BUL^^I 


Fig.  312. 


Fig.  313. 

For  harness-chain  use  the  regular 


For  drawing-in  draft  use  skip-draw  shown  in  Fig.  312 
twill  shown  in  Fig.  309. 

In  Fig.  314  we  illustrate  a  skip-twill  derived  from  the  regular  twill  ^  (7-harness)  by 

means  of  skip-draft  shown  in  Fig.  315.  Take  two,  miss  two,  seven  times  over,  forms  the  repeat 
of  this  skip  draft. 

Repeat  of  weave:  14  warp-threads,  7  picks. 


n^BB — B 

L   BB  B 

r,:m  m 

B""^B  —  B 
B  BB 
BB  BB 

rr'  B 
c  m 
c  m 

am  mm 
mm  mm 
mm  m 

■      B  B 

BB  :  a  1 
B      B  ] 
B      BB  .  1 
B      BB~  1 

cmm 

■BB 
■B 

■  B 

'z  mm  m 
L  mm  m 
cm  m 
cm  mm 

BBB 
B  BB 
BB  BB 

BB      B  J 

'□□□□□□□■GDBGna 

□GGHGnBQGQGGGa 
□□■GGGGGGGGGGB 
□GnGaGQQGBQaBa 

'a  '  m 

□L  :  B 

c  m 
cmm 

um  mm 

■BL..BU„i 
!■□□■□□■ 

B.     B  jj 

B::GBBja 

■GQIHGO 

14 

□□□□□■□□■□GGGG 
□BDGBGGGUGGGGG 

i|GaaQGDaDaDBaa 

■BB 

■  ■'_,U 

>■□□■ 

1 

Fig. 

314. 

Fig.  315. 

  _  _.■■□ 

1.        BB  . .  BB   .  4  ■□□ 

■ljUub:  jubbbuubogg 
■□□■□□□■■□□■■□og 


Fig.  316. 


'Weave  Fig.  316  is  derived  from  the  same  regular  twill  as  Fig.  314,  but  has  a  different 
drafting,  as  follows:  Take  three,  miss  two,  seven  times  over. 
Repeat  of  weave:  21  warp-threads,  7  picks. 


DH 

CGi 
CBI 


BBBB   BBB  Bl 

BB"  ~" 
BB 

IB^ 


■  BB  J 

IB  □ 

■  a  1 


■BB   BBBB  BBB 


I  :i    m  a  mm  r.mmm  1 
■■■■  ■■■    bb;;!  :  b  u    'B      bb  □ 

BBB   BBBB   BBB    .  BBCl      ■   'JS      m^  ai 


SaanGBGDDDBGGGGBGGQDBQaDnaQaCXnGg 
□□(□□□□□□■□□□□■□□□□■□□GGBnGQGGGGiS 
□GaGGGGGGGGGBGDGGBDGGGBGGGGBLJGDG 
□GnaaCDGaGDGGaGaBQOnGBGDGGBDGGOB 
□GGtoGGGOGGGaGGGGnGGBaGaGaaGGGBG 
□□■nGGGBGDOGGaGGnGGGGGGGHGaGOBGa 
GBGOaGBGGDGBGGGGGCGaGnQ^GQGGBGaG 
IBGGGGBDGaDBGGDGBaaaaGGGGDGGGGGDG 


1 


Fig.  317. 


Fig.  318. 


Fig.  317  represents  a  skip-twill  derived  from  the  8-harness  ^—^ — - — j  by  means  of  skip-draw 
shown  in  Fig.  318. 

Repeat  of  weave:  32  warp-threads,  8  picks. 


65 


Fig.  319  illustrates  the  skip-twill  derived  from  the  14-harness  ^ — j — — 1 — -  regular  twill  by 
the  following  drafting:  Take  three,  miss  six,  fourteen  times  over. 
Repeat  of  weave:  42  warp-threads,  14  picks. 

Fig.  320  represents  the  skip-twill  derived  from  the  i8-harness  3 — ^— 5 — - — 5 — - — 3  regular 
twill,  derived  by  means  of  the  following  drafting:  Take  three,  skip  ten,  eighteen  times  over. 
Repeat  of  weave:  54  warp-threads,  18  picks. 


isnoDBDnnnHi 

EO'r.  mm  m 
CI  ■■ 
■■  ■■■ 


■■  ,jci  ]mm:j  m  i 

■■□□□■■■□■■UUGiGI 

■□□□□■■□■■■<:.]□□■■ 


■■1) 

]GG 

■  aa 
■ 


■■  ■■■  ■    ■■  z:      mm    m  ij 

■■  ■■■  ■    ■■  ■■    ■      ■  ■■  jacs 

■    ■■  c:      ■■  ■      ■  ■■  'j:  mm  ■■■_]□□ 

■  I    ■    .  .  ammm  mm  ao.  i  ■■■  i:^r^..LMi:    m^.^^mm  ^:aac 

■■U!  HLJ.A  1  jL^BGt^BB'-.HUGGMGCBUGDBaODDa 
■■GHGLiGBHGGBGDBBaaUGaBBaDBDDGBQaaaHHBHDBBDDHDDaGBC 

■GBGDDHaGaHGaGBGGGGBBHBaaHGGQaaaDaaHHaHHaaBGuaHQGc:; 


Fig.  319. 


Fig.  320. 


These  few  designs  for  skip-twills,  with  a  regular  exchanging  of  "take"  and  "miss,"  will 
readily  establish  the  rule  for  finding  the  number  of  warp-threads  required  for  one  repeat,  as 
follows : 

Multiply  the  number  of  harness  the  foundation  (or  regular)  twill  contains  (this  is  also  equal 
to  the  number  of  picks  for  the  repeat  of  the  skip-twill)  by  the  number  of  warp-threads  taken  in 
rotation  in  the  skip-draft  before  missing  a  certain  number  of  threads;  for  example  : — 

Fio"    20  -  number  of  harness  \  jg  x  /  number  of  warp-threads  taken  \  /  repeat  of  warp- 

ig-  320  foundation  twill  J  ^       \       in  rotation  in  skip-draft       j  ^        \  threads  in  s.  t. 

"    319  "  "  14  X  "  "  3=42 

"    317  "  "  8X  "  "  4=32 

«  "  "  7X  "  "  3=21 

"    314  "  "  7X  "  "  2=14 

The  next  step  for  figuring  skip-twills  is  that  of  arranging  the  skip-effects  produced  by 
the  warp  into  two  or  more  different  sizes.  In  their  general  principle  of  construction  these  kinds  of 
skip-twills  are  identical  with  the  ones  given  before.    Figs.  321  and  322  are  designed  as  illustrations. 


[  mmi  mm  eB' 


_  ] 


Fig.  321. 


8G 

GC 

or 
cm 


I  ■■  .  mm  um  mm 
I    ■      as  mmm    m  ss 

t  a       fs  ■■■■  a  ma 
'i<yi      m    mmm  sss      m  13 
w    mm    mm    t^e    mm"  a 
mmm    m      •2s  mmm  ']o 
'.K<  ■■■■  s       s  ■■■■  m 

■  ■■■       .    ■    ■■■  sm 

■  ■■    fflB;  '  ■■    ■■  mm 


a  ■■■■  n 


BG 

■  JQ 

■  )□ 
■GG 


Fig.  322. 


Fig.  321  is  derived  from  the  regular  5  6-harness  twill.    Arrangement  of  skip-draft  is  as 

follows:  Take  three,  skip  two,  take  one,  skip  two,  four  times  over. 
Repeat:  12  warp-threads,  6  picks. 

Fig.  322  has  for  its  foundation  the  regular  8-harness  twill  Arrangement  of  skip-draft: 

Take  four,  .skip  three,  take  two,  skip  three,  four  times  over. 
Repeat:  24  warp-threads,  8  picks. 

A  further  process  in  figuring  skip-twill  is  found  in  arranging  the  skipping  in  the  direction  of 
the  filling.  After  taking  two,  three  or  more  picks  in  rotation  from  any  of  the  "regular"  45°  twills, 
miss  one,  two,  three  or  more  picks;  then  continue  again  to  take  an  equal  number  as  before, 
again  miss  a  certain  number  of  picks,  and  proceed  in  this  manner  until  the  repeat  is  obtained. 


66 


Figs.  323  and  324  are  designed  for  illustrating  this  sub-division  of  skip-twills. 

Fig.  323 — repeat:  4-harness,  16  picks — is  derived  from  the  regular  4-harness  twill  — 
the  following  manner:  Take  four,  miss  one,  four  times  over. 

Fig.  324 — repeat :  8-harness,  24  picks — is  derived  from  the  regular  8-harness  twill  — 
as  follows :  Take  three,  miss  four,  eight  times  over. 


in 


^■□□^□□■■■□□BDaBH 


or  II 
□■I 

□a 

BG 
□CL 
□..  E3 
□B'_ 
iBGGi 


■sua 
a  lam 


I    >ii  mmm  @aa 

mmm  .s 

■■■  su  ■■■□□s 

IB  S 

.  B  • 

■■■  S  ■■■DD 

—  -   


■■□ 

IDO 


Fig.  323. 


Fig.  324. 


The  rule  for  finding  the  number  of  picks  necessary  for  one  repeat  of  design  is:  Multiply  the 
number  of  harness  in  repeat  by  number  of  picks  taken  in  rotation  before  skipping.  The  result 
will  be  the  number  of  picks  necessary  for  one  repeat  in  design ;  for  example : — 

Fig-  323 — 4  (number  of  harness)  X  4  (picks  in  rotation)  =  16  picks  in  one  repeat. 


324—8 


X  3 


24 


□■I 


■■□■■■□□■■□□□I 

1-  'mmrT'ma  'rmmu 


■  :  fan<ts  m 

■  z«i'B>  fa 

aa  aEsa 
a  aaa  ■ 


■■ 
■■■ 

■■□ 


2Cj  aaa"! 

Eaa  aa 
Ba  aaa  i 
B  aaa  mi 

cm      m      aaa.  _  _   

■  ■■  aaa  ■  ■■  asaa 
r.  ■■■  aaa  .a'  ■■■  aaaua 
rj  ■■■  aaa  :aa  ■■■  aaa 
LBBB  aa  aaa  ■■■  aa  bbb 
mmm  a  aaa  ■■■  a  Bssa 
L.  .aaa  ■  ■  aaa  m  urn 
Ci  aaa  ■■  '  aaa  ■  '  '■■ 
□aaa  .a  ■■■  aaa  a  ■■■ 
aaaaaa    ■■■  aaa  aa 

mm  aaa  ■■■    aa  aaa  mmm  'ia 
B  aaa  ■■■      a  aaa  ■■■ 
cm      m      aaa  ■      ■  aaa 

■  :  aaa  ■  ■■  aaaa 
□  ■■■  aaa  a  ■■■  aaa^  w 
L:  mmm  aaa  aa  .  ■■■  aaa  mm 
□■■■_i:aa  aaa  ■■■    aa  aaa 


Fig.  325. 


Fig.  326. 


The  next  course  in  figuring  skip-twills  is  that  of  combining  warp  and  filling  skip-effects  in 
the  same  design. 

Figs.  325,  326  and  327  illustrate  this  sub-division  of  the  skip-twills. 

Fjg-  325 — repeat:  18  warp-threads,  18  picks — has  for  its  foundation  the  6-harness  2  ^ 

regular  twill.    Take  six,  miss  two,  three  times  over  in  one  repeat  for  warp  and  filling  directions. 
iiiaaaDHaaaMaaaaBaB  mmi 

DODBnnnGBDGDBBB 


■■■  ■■■■ 

■■      ■■■■   ■■■  ■ 

■      mmm  mmmn  ■■! 


mn'  mmm  m 

am 

□■■      ■■  mu 


Fig.  327. 


□■■ 


Fig.  328. 


Fig.  326 — repeat:  24  warp-threads,  24  picks,  and  Fig.  327 — repeat:  24  warp-threads,  24 
picks — are  figured  skip-twills  of  a  more  elaborate  design. 

In  Fig.  326  6  threads  in  rotation,  warp  and  filling  ways,  are  used  before  skipping.  In  Fig. 
327  4  threads  in  rotation,  warp  and  filling  ways,  are  used  before  skipping  3  threads. 


,67 


t  Z  3  ¥  5  6  7  8 


Fig.  328 — repeat:  22  warp-threads,  22  picks — is  designed  to  illustrate  skip-effects  irregularly 

arranged,  and  is  derived  from  the  common  3  6-harness  twill.    Arrangement  of  drafting  for 

this  weave  is:  Take  one,  miss  two,  take  seven,  miss  two,  take  one,  miss  two,  take  thirteen,  miss  two. 

VI.    Combination  Steep-Twills  (of  63°  grading). 

This  sub-division  of  the  twill  weaves  is  produced  by  combining  two  regular  twills  (45°) 
which  either  have  the  same  number  of  warp-threads  for  their  repeat,  or  two  regular  twills  where 
one  weave  contains  one-half,  one-third  or  one-fourth  the  number  of  warp-threads  in  its  repeat 
compared  to  the  number  of  warp-threads  found  in  the 
repeat  of  the  other  weave.  In  designing  these  com- 
bination twills  the  two  weaves  are  combined,  one 
pick  of  one  twill  to  alternate  with  one  pick  of  the 
second  twill.  Diagram  Fig.  329  is  designed  to  give 
a  clear  illustration  of  their  method  of  construction.  In 
the  same 

A  represents  the  regular  8-harness  twill  j — - — ^ — j — ^. 

B       "  "  "  "  5  

C       "  the  drafting  so  as  to  get 

D  =  the  combination  63°  steep-twill. 
Repeat:  8  harness  and  16  picks. 
Arrangement  of  drafting : 


1 

Si? 

i 

1 

1.  2.  1  V.  5  6  7  a 
B 


Fig. 


1.  2.  3  .  5  6  7  8 
529. 


1st  pick  of 

combination 

twill  is  1st  pick  of  re| 

jular  twill  B. 

2ad 

"  1st 

A. 

3rd 

"  2nd 

B. 

4th 

t( 

"  2nd 

A. 

5th  " 

it 

«  ^rd 

B. 

6th 

i( 

"  3rd 

A. 

7th 

<( 

"  4th 

B. 

8th 

"  4th 

A. 

9th 

<< 

"    5  th 

B. 

loth 

<( 

"  5th 

A. 

nth 

n 

"  6th 

B. 

1 2th 

« 

"  6th 

A. 

13th 

"  7th 

B. 

14th 

i( 

"  7th 

A. 

1 5th 

(( 

"  8th 

B. 

1 6th 

u 

"  8th 

A. 

1 

Fig.  330. 


7HHt3DDDH 

□□□□nan 


Fig.  331. 


"□□□rrfan 

□□I.  rv.aa 
□□■□□■■ 
□□□□□□a 
□■□□■■a 

□□□□□□□ 

□□□QHHD 
□EHHHQD 
□□□□□□□ 

1  7 

Fig.  332. 


□□□□□□□ 

ipa 

a"  a"  a 

□1     .  Ha 

1  7 

Fig.  333. 


■□□■□□■ 

□□£!□□□□ 
□□■□LMH 
□QHDGHG 
□■□□■■□ 

□ancHGD 
■□□■■□□ 

□□□□□□□ 

□■■□□■a 

□□□□□□□ 

!■■□□■□□ 

1  7 

Fig.  334. 


Fig.  330  illustrates  the  regular  (45°)  7-harness  twill  - — ; 
Fig.  331  represents  the  regular  7-harness  twill  known  as 


-  -     -I     o   /       -    J 

Fig.  332  clearly  illustrates  the  combination  of  these  two  weaves  (Figs.  330  and  331),  or  its 
"Combination  Stccp-Twiir  o'i  63°  grading. 


68 


To  simplify  the  combination  each  regular  twill  is  shown  by  a  different  type  and  this  style 
of  type  is  retained  in  the  combination  twill.  Repeat  of  combination  twill,  Fig.  332,  is  7-harness 
and  14  picks. 

Fig.  333  illustrates  the  regular  45°  twill,  known  as  ^—^ — 5 — 5,  which,  with  weave  Fig.  330 
(from  the  previous  example),  is  used  in  constructing  weave  Fig.  334.  Repeat  of  the  latter: 
7-harness  and  14  picks. 


Fig.  335. 


"aa::nant. 
■'  -■.zmvrjm 

a  laajaa 

naa^aaa 
Haaaaan 

HD3BB:3a 

haaaoaa 

BBB_~BBLJ 

1  7 
Fig.  336. 


n.DnBGB:::aB 
■  ■  -'mm 
■  ■  ■■■ 


'■■■■UUGHGHUa 

T  12 

Fig.  337. 


ED     .aa    ,  laa 
aaa 

cci  aa  aaau 
ncaa  aaa  :-j 
OHB  aaa  ,j 
HB  aaa  jj 
blj  aaa  _:q 
c.oiiBaa  1  '  .-JBB 
□□aaB' J.,  uljbbl) 

ICBBBLlJGUBBCq 

Fig.  338. 


Fig.  330  is  shown  combined  again  with  a  different  weave.  Fig.  335,  in  the  7-harness  and 
14-picks  combination  twill-weave,  Fig.  336. 

I2-harness  weave,  Fig.  337,  and  12-harness  weave,  Fig.  338,  are  illustrated  as  combined  in  its 
63°  combination  steep-twill  by  weave  shown  in  Fig.  339.    Repeat  of  the  latter;  12-harness,  24 picks. 

Fig.  341  illustrates  another  12-harness  combination  twill,  63°  grading,  obtained  by  combining 
weave,  Fig.  337  =  12-harness  regular  twill  ^— ^ — ^ — j — ^ — and  weave  Fig.  340  =  12-harness 
regular  twill  5^ — 3 — ^—^ — ^—^ — ^ — j.    Repeat  for  the  combination  twill-weave:  12-harness,  24  picks. 

Fig.  342  represents  the  combination  steep-twill  for  12  harness  24  picks  repeat,  as  produced  by 
combining  the  regular  12-harness  twill  shown  in  Fig.  337  — ^ — ^ — j — ^ — ^  with  itself,  starting 
from  two  different  points. 

The  foregoing  examples  illustrating  the  construction  of  the  sub-division  of  twills  classified 


in  general  as  "  combination  twills ' 
be  produced. 


indicate  that  an  immense  variety  of  different  new  weaves  can 


3aann 


aa 

L  ■ 

a 


aa 
a"' 


Lj-.aaa 

□■■■a.  

□BaBuaGGBQaa 

Fig.  339. 


B  :: 
c  a 
□a  :: 
D  a 
□a 

1 


Fig.  340. 


"naaa 
a  :bo 
:  aaa 
□□ 
;  'DB 

"BD 

aDD 
a  JGB 
;  ■  JBD 

ana 
a.jGB 

:  ,  DBD 

12 


BU  i_ 

„BBBa 

□in 

□BC.'a  a 
■□-■■■a 

BUB  a 

OBL     a  a 
■ 


3.3 


■an 

a.i 

■ 

a  13 

'  j3 

.3 
::■ 

a3 

-.13 


gaaan- , 
„..,S  ■ 
t^'m"  mm 
■■■ 


1 


a  B 

■  BJ 

a  a.D 

■  BJG 


aa: 


1:  ■    ■■■■  . 

aa    a  a  aa 

■    ■■■■  ■ J 

a    a  a  aaa 

'  m  m 

a  a  aaaa 

----  -"-] 


Fig.  341. 


1 


Fig.  342. 


12 


The  principle  of  combining  weaves  in  this  manner,  or  the  construction  of  new  designs  out 
of  one  weave,  as  shown  by  rules  and  examples,  is  of  great  value  to  every  designer,  as  it  enables 
him  to  produce  a  large  variety  of  weaves. 

In  addition  to  the  combination  steep-twills,  constructed  out  of  two  twills  and  in  regular 
order,  we  can  vary  the  order  systematically  as  much  as  we  choose;  again,  we  may  combine  three 
four  or  five  regular  twills  for  one  combination  twill;  in  fact,  the  great  variety  of  new  weaves  we 
can  construct  is  unlimited. 

VII.     Corkscrew  Twills. 


This  sub-division  of  the  "regular"  (45°)  twills  is  derived  from  the  latter  by  means  of  a 
"double  draw."  This  procedure  will,  to  a  certain  extent,  reduce  the  texture  of  the  warp  for  the 
face  in  the  fabric,  hence  a  greater  number  of  those  threads  per  inch,  compared  with  the  regular 
twill,  are  required. 


69 


A.    Corkscrew  Twills  Iiavin^  for  iheir  Foundation  One  of  the  Regular  Twills. 

This  sub-division  of  the  corkscrew  twills  commences  with  5-harness,  after  which  they  can 
be  made  on  any  number  of  harness  desired. 

Figs.  343,  344,  345,  346  are  designed  to  illustrate  the  method  of  operation  for  drafting  the 

5-harness  corkscrew  twill  from  its  foundation  weave,  the  regular  5-harness  twill  known  as  

and  which  is  represented  in  Fig.  343. 

Fig.  344  shows  the  double  draw  as  required  for  drafting 
from  Fig.  343. 

Weave  Fig.  345  shows  5-harness  corkscrew  (with  5  picks 
in  its  repeat). 

Drawing-in  draft  for  practical  work,  will  call  for  a  5- 
harness  "  straight  draw,"  as  illustrated  in  Fig.  346.  The  pres- 
ent system  of  treating  corkscrew  twills  will  always  be  more 
advantageous  on  an  uneven  number  of  harnesses,  as  only  such 
a  number  will  allow  an  equal  breaking  off  for  the  two  twill-effects  as  visible  on  the  face  of 
the  fabric. 


Fig.  343. 


1  5 
Fig.  344. 


Fig.  345- 


□■□□□□■□no 


M   Fig.  346. 


□□■/.'■nBa  □  " 


□■■■Lin 

1  6 

Fig.  347. 


□CB 


■ 

•a 

a 

aJ3 

■-■a 


,■■  ]■■ 


"ra-'a'^aB^B^BnBH 
[  a  aa  ■  ■  aa 

as  ■  ■  aa  a  □ 
B  ■  ■  aa  a  a  □ 
a  a  a::  a  a  aaa 
a  aa  a  a  aa  aG 
aa  aa  a  aa 
aa  a  a  aa 


J  a  a  :a 
::  a  aaa 
aa  :aa 
3B..ajaG 


Fig.  348. 


Fig.  347  shows  the  regular  6-harness 


Fig.  349,  Fig.  350. 

twill.    By  means  of  double  drafting,  1-4,  2-5, 


3-6,  4-1,  5-2,  6-3,  we  derive  Fig.  348,  the  12-harness  corkscrew.  Drawing-in:  "Straight  draw," 
l2-harness. 

Fig.  349  illustrates  the  7-harness  j  twill.    By  double  drafting  (1-5,  2-6,  3-7,  4-1,  5-2, 

6-3,  7-4)  we  derive  weave  Fig.  350,  the  7-harness  corkscrew.  Drawing-in:  ".Straight  draw," 
for  7-harness. 


.eonnnananaai 
rannaaa^a  ■ 


iscaDQ'^a" 
Da^a  ai 
□□""aa  I 
caa  a  ■ 


a  a 
a 

a  a 
aa3 


<!□□□■■■■ 

□□■■aai 
caaaaa 


a 


J  aa  canH  a 
aaa  aa  a  a._aaa 
a  a. aa  a  a  aaaau 
■  jaa^.^a  a  aaaaoau 
1  ■□□BaQ.-jaaaa  jBDHa 


1 


16 


Fig.  351. 


Fig.  352. 


□□□■■■I 
□caaaai 
caaaaa 


Fig.  353. 


a  a::  aa  a  w  i 

aa  a  [;  a  aa  a  a  aj 
»La  a  a  aa  a  a  a  aa 
r:a  a  aa  a  a  a  aa  a 
r  a  ::a  a  a  a  aa  a  a 
caa  a  a  a_aa  a  a  a 

■  .  a  a  aa  a  a  a  aaj 

■  a  aa  a_a  a  .aa_.aii 
■cjBQ-ja_iaL;a  .aaLB^'aa 
laauaaaaaaaaDBGaaBQ 


1 


18 


Fig.  354. 


Fig.  351  represents  the  8-harness  — 


f-^oa^aannnGai 


•twill,  and  Fig.  352  illustrates  the  latter  arranged  for 
the  corkscrew  weave,  which  is  derived  by  means  of  double  drafting  the  regular  twill.    (l,  6,  2, 
7,  3,  8,  4,  I,  5,  2,6,  3,  7,  4,  8,  5.)     Drawing-in:   Straight  draw  16- 
harness  or  double  draw  on  8-harness  only. 

Fig.  353  illustrates  the  9-harness  twill  known  as  ^  j. 

Fig.  354  represents  the  corresponding  corkscrew,  derived  from  the 
former  by  means  of  double  draw  (i,  6,  2,  7,  etc.).  In  corkscrew  weaves 
for  a  high  number  of  harness  in  their  repeat,  as  1 1,  13,  15,  etc.,  the  inter- 
lacing of  the  warp  and  filling  is  very  loose ;  so  the  fabric  may  get  too 
spongy  in  handling.  To  remedy  this,  without  changing  the  face  of  the 
fabric,  the  floating  of  the  warp  upon  the  back  of  the  fabric  must  be 
reduced,  which  is  accomplished  by  adding  one  or  more  places  of  inter- 
lacing for  the  float. 


lanBGEa 
a  ~aa:ia 
aa  aJH 
a  aaa 
::  aaajB 
::b  aaa 
a  aaa 
aa  ma 
::a  a:  ;aa 
a  aaaa 


caa 

m 

raa 


Fig.  355. 


a  aa 

aa  a 

^  a  a 
::  aaa 
:-;a'"Ga 
aaa 
:;  aaa 
::a  aa 
a  :Ba 
aaaa 


For  example,  Fig.  355,  represents  the  ii-harness  corkscrew  weave,  which 


70 


should  require  the  ii -harness 


twill,  but  where  is  found  in  the  present  example  a  change 


of  the  5  down  in  rotation,  to  2  down,  i  up,  2  down. 

Thus  the  actual  foundation  for  the  present  weave  is  the  regular  ii-harness 


twill. 


B.    Corkscreiv  Weaves  Derived  by  Combinifig  Two  Regular  Twills. 

This  sub-division  of  corkscrews  has  for  its  object  the  forming  of  different  sized  twill  lines  upon 
the  face  of  the  fabric,  which  is  obtained  by  combining  two  different  twills  of  an  equal  repeat.  In  con- 
structing the  corkscrew  use  alternately  one  warp-thread  from  one  twill,  one  warp-thread  from  the 
other  twill,  until  all  the  harnesses  are  taken  up.  For  example,  Fig.  356,  a  12-harness  corkscrew- 
weave,  which  is  designed  from  the  6-harness  twill   ^  (see  Fig.  357)  and  the  6-harness  twill 

3  3  (see  Fig.  358). 

Drawing-in  draft :  12-harness  "  straight  draw." 

Repeat:  12  harness  and  6  picks. 


Fig.  356. 


1  ti 

Fig.  357. 


□".~aaa 

□aaa3D 
laaajaa 


Fig.  358. 


Fir..  359- 


□□■■■■na 
□■■■■□□n 
■■■■□□□n 

1  8 

Fig.  360. 


Fig.  361. 


In  examining  the  corkscrew  weave  we  find  its 

1st  warp-thread  the  same  as  the  1st  warp-thread  in  Fig.  357 

2nd        "              "            "        1st  "  "  358 

3rd         "              "            "       2nd  "  "  357 

4th         "              "            "       2nd  "  "  358 

5th         "              "            "       3rd  "  "  357 

6th         "              "            "       3rd  "  "  358 

7th         "              "            "       4th  "  "  357 

8th         "              "            "       4th  "  "  358 

9th         "             "            "       5th  "  "  357 

loth         "             "            "       5th  "  "  358 

nth         "              "            "       6th  "  "  357 

12th         "             "            "       6th  "  "  358 

The  number  of  harness  required  for  the  corkscrew  wea\'e  will  alwaj  s  equal  the  combined 
number  of  harness  required  for  the  regular  twills. 


□aTa«a«a"c 
□aBr:Br:  n  : 
■aa:: 

:;b  a 
ca  ::a  ■  a: 
caa  a  a::a 
■  a  a::a  a 

:a 
a 

a 

a: 

ar:a  a 
:b  b  a: 

an  a 

;  a 

a: 
:b 
a 

:a 
a 

■ 

■a 

i2ua 
cai 


::a3 

■  BD 

■  aa 

■;:b3 

■  a : 

■  aa 

a 
a 

::Ba 

■  ;:Ba 

■  ::  a 

a 


Fig.  362. 


isHanaaaa^anDH 
Baaaa^'Daiaaa 
aann".  a  aaa 
aa::  ^a  „p;<ga 

D  a:;:;:;:;:;:;  i  la 
□aaaLiaaa  aj 
iEaaaaaa__,aja 


1 


12 


□■□■acauaDHDHaDBCii 
ijBaaB^a'rar^aa^:*^  ■  .  1 

ID 
17 

a  B  a 

:b  a  a  B  a  I 

1 

a  a  aa 

a  a  a  a  a 

a  aa  a 

a  a  a  a 

a  a  a 

a  a  a 
a  a 

a  a  a 

a  a  aa  a 

a 
a 

a  a  a 
a  a  a 

a  aa  a  a 
aa  a  a  a 

a 
a 

a  a  : 
a 

aa  a  a  a  a 

a 

a 

a  aa" 

■  a  a  a  a  a 

■  a  a  a  a 

a  a 

aa  a 

■  a  a  a 

a  a  a 

aa  i 

a  a  a 

a  a  a  1 

a  :.a..ia  J 

a  a  a 

B-;a^=. 

a  a  a  a  aa 

Fig.  363. 


Fig.  364. 


Fig.  365. 


In  Fig.  359  we  illustrate  a  i6-harness  corkscrew,  composed  out  of  the  regular  twill  - 

(Fig.  360)  and  ^  (Fig.  361). 

Drawing-in  draft:  16  harness  "straight  draw."    Repeat:  16  harness  and  8  picks. 


71 


In  Fig.  362,  we  illustrate  a  24-harnes.s  corkscrew  obtained  from  the  regular  twill  "  ^  ■  ^  ^, 
shown  in  Fig.  363,  and  ^-^ — shown  in  Fig.  364 

Drawing-in  draft:  24  harness  "  straight  draw."    Repeat:  24  harness  and  12  picks. 

This  corkscrew  weave  will  also  illustrate  the  arranging  of  a  loose  to  a  closer  interlacing. 

For  example  :  Suppose  we  constructed  a  corkscrew  of  the  two  regular  twills   g  and  5, 

and  found  the  fabric  to  be  perfect  as  to  size  of  twill  lines  upon  its  face,  yet  too  spongy  in 
structure.  In  this  instance,  the  weave  Fig.  362  would  readily  dispense  with  the  obstacle  without 
changing  the  appearance  of  its  face. 

The  next  step  for  figuring  in  corkscrews  is  the  production  of  three  different-sized  twill 
lines,  as  in  weave  Fig.  365,  which  shows  one  twilL  of  6  picks,  a  second  twill  of  5  picks  and  a 
third  twill  of  3  picks  connected  uninterruptedly  with  each  other. 

C.    Figuring  with  the  Filling  upon  the  Face  of  Corkscreiv  Weaves. 

Any  of  the  different  corkscrew  weaves  illustrated  and  explained  in  their  construction 
under  sub-divisions  A  and  B  (also  any  other  corkscrew  derived  from  the  principles  given)  can  be 
arranged  for  the  third  sub-division  of  corkscrews.  As  mentioned,  the  object  is  to  form 
figures  of  different  size,  design  and  combination  upon  the  face  of  a  corkscrew  weave  by  floating 
the  filling,  which  otherwise  rests  imbedded  between  the  warp-threads  that  form  either  face  or 
back  of  the  fabric,  at  certain  spaces,  and  this  in  regular  distances  after  a  given  arrangement. 
These  spots,  obtained  upon  the  face  of  any  corkscrew,  will  appear  distinctly  in  piece-dyed  fabrics 
if  a  single  yarn  for  filling  is  used  and  a  double  01  twist  for  warp;  again,  by  using  lustre  yarn  for 
warp  and  common  for  filling. 

In  fancy  corkscrews,  where  we  use  a  different  colored  yarn  for  warp  and  filling,  these  spots 
(floating  the  filling  upon  the  face  of  the  fabric)  will  readily  be  visible.  Silk  filling  may  also  be  in- 
troduced, at  certain  of  these  floating  picks,  which  will  greatly  assist  ■  ■  ■ 
in  producing  fancy  effects.  ^"J  ■ 

To  give  a  clearer  understanding  of  the  nature  of  this  floating  Sb"!"b  "  "■"s  Sb"S"s  "  '■"S- 
Figs.  366  and  367  are  arranged.  i        S        ■        S  ■■"  ■ 

Fig.  366  has  for  its  foundation  the  7-harness  corkscrew  shown     ■         ■         ■         ■  5,"5j 
before  in  Fig.  350.    We  illustrate  the  new  weave  by  three  different         Jb";"  5,',  ■  Sb's'S 
characters  of  types:  ■        S.'s's  Sb"S's 

■  for  raisers  1  r  1  5  "  '■  ■ 

>irom  common  corkscrew.  PS  ■      ■  " 

□  for  smkers  J  th  ■■■■■■■■■■■■■■ 

■  for  sinker  for  floating  the  filling  upon  the  face  of  the  fabric.       ,|  "s"!  !■"!'!  ■  's'S  Sa's'si 

Repeat:  14  warp-threads,  14  picks.  ^  Fig '366 

Motive  for  arranging  spots:  □■. 
3«oBa«DBD«BaBaBaBCMOBnBnBnMnBGBaBaM  Fig.  367  illustrates  the  forming  of  filling  spots  upon  the 

RKHff'S  ^Sj'S'l'^S^Sf  :'5 |,Sj':  regular  9-harness  corkscrew  (see  fig  354). 

■  ■  ■■"■  !  ■         S  S         S  ■  Motive  for  arranging  these  spots  is  the  4-harness 


broken-twill  gggg 

■  for  raisers  ,  r  1 

>  from  common  corkscrew. 

□  for  sinkers 


■  S         5  5     ■■  ■  ■       sinkers  for  floating  the  filling  upon  the  face  of  the 

■  ■  ■        ■  ■  J,"  fabric. 

'■  ■  5,"5"5  5  Sb's's  S  Repeat:  36  warp-threads,  36  picks. 

■'■  ■■"■■!         S  Drawing-in  draft  will  reduce  the  36  warp-threads  upon 

■  ■  S.'s'j  S  Sb^  15-harness  as  follows:  i,  2,  3,  4,  5,  6,  7,  8,  g,  i,  2,  3,10,11, 

jaH'iBiaKzlJiJ^s:^^^^  6,  7,  s,  9,  i,  2, 3,  12. 13,  6,  7,  s,  9,  i,  2, 3, 14,  is,  e, 

Fig.  367.  ■*  7.  8,  9. 


D.     Curved  Corkscrew  Tivills. 


This  sub-division  of  the  corkscrew  weaves  is  derived  from  the  regular  twills  by  drafting 
in  both  directions,  according  to  the  same  rules  given  in  constructing  the  corkscrew  under  sub- divis- 
ions A  and  B.  After  starting  to  draft  from  left  to  right  for  a  certain  number  of  threads,  reverse 
the  direction  of  drafting  until  the  starting  point  is  reached. 


Front. 

□aDH□□□^Q^□□□□□□ 
OHD  - .  -  '7  - :  ■  - '  J  □  □□□a 

DT"'  ■ 

□□■  . 

1  ira 
Fig.  368. 


■  ■  wa  :::  r:       ■  ■  ■  wam 


1 

Fig. '369. 


Front. 

^□□□□□□naanaaDDnanaBaQDaaaDnDaaaDaaDa 
□□□BaBannaaDnDBnBDLjnaoBaoaaoDnaHUHca 
□BpDcggrGDT]:2B     ._,  .     'uu  naGaDjaamaaa 

□pqa  m  m  m  jaciDacam 

RSLi-a-"-      -      aaaa  aaaaama 

DnB-,a, — ^-^-2  a,  .  .aaaaaaBa 

'■OG^  ^^^^a^a_.^  ^^^-.a^ai^aDDDDng 

Fig.  370. 

J,  from  which  commence  to  draft  as 


For  example :  Take  the  7-harness  regular  twill  - 
follows :  I,  5,  2,  6,  3,  7,  4,  I,  5,  I,  4,  7,  3,  6,  2,  5,  as  represented  in  double  draw  Fig.  368. 

Fig.  369  illustrates  the  "  cur\'ed "  (wavy)  corkscrew  derived  by  means  of  this  double 

draft  from  the  7-harness  (-  j)  twill.    Repeat:  16  warp-threads,  7  picks.    Drawing-in  draft: 

i6-harness  "  straight "  draw  and  one  repeat  of  corkscrew  weave  from  Fig.  369  for  harness  chain; 
or  7-harness  double  draw.  Fig.  368,  and  "  regular  "  twill  *  ^  for  harness  chain. 


oa  a  aa  ■ 
□aa  a  a  ■ 
B  a  a  a  ■ 
a  a  a  a:: 


lana^aga  "innEnBOEBnani 
■  aa  a  ia  la^araa  a  m'  t 
I  a  a  aa  aa  a  ;b  a  a  ■ 


:  aaaa  a  aaas  a 
::  a  a  aaa  a  a  a 
::  a  a  a  a  a  a  ai 
aa  a  a  a      aa  ■ 
a  a  aa  aa  a  a  ■ 
aaaaaaai 


■a^nDBDB 

■  aa  □  JB 

■  a  a  aa 

■  a  a  Bi 
aa  a  an 
a  aaaaj 
a  a  a_,a 

■a  a  a  jb 
I  aa  ajB 
I  a  a  .BB 

■  a  a  BJ 


.,a  a  ,aaa 
Fig.  371. 


If  the  twill  lines  upon  the  face  of  the  fabric  are  not  required  so  steep,  draft  every  one 
or  every  second,  third,  or  fourth,  etc.,  warp-thread  for  each  twill  twice  or  three  times,  or  oftener, 
upon  the  same  harness.    Figs.  370,  371,  372,  373  are  illustrations  of  this  kind. 

Fig.  370  illustrates  a  double-draw,  which  has  for  its  principle  of  construction,  2  warp-threads 
upon  I  harness,  and  i  warp-thread  upon  the  next. 

On  points  where  the  twill  changes  its  direction,  judgment  must  be  used  so  as  to  prevent 
the  last  pick  floating  too  far. 

Fig-   371   illustrates   the   curved  corkscrew  as 
derived  from  the  "regular"   ~  7-harness  twill  by 


□□□BaOOD^:  


i3Ti':^D3Dnaaaaa.iBaanajasnaaz!aa.i3 
aDDnBGarjajaaajjjDDBJjaBaD 
Lj'_]uuuu«_ '  .      a  : JBL]:jaa3DaijaDBJJii;jc]JBJjzi3 
a  ^•□□□□□□aaajj.iuJBjjjjJiiJ'Da 
□□BaaaD„_ja_- .j_.jjgaaaaaD'jjaaDJ'jJ.jBaaj3jjii 
iBDaoaDDBGjuGGDBGBGBaBGaGoaaaaajaaaBaBaBj 


Fig.  372. 


means  of  drawing-in'  draft.  Fig.  370.  Repeat:  36 
warp-threads,  7  picks.   For  drawing-in  draft  use  Fig. 

370;  for  harness  chain  the  regular  *  ^  twill. 

A  double-draw  in  which  the  point  of  reversing  the  twill"  is  more  balanced,  to  give  a 
more  wavy  appearance  when  applied  to  a  fabric,  is  shown  in  Fig.  372.  The  point  harness  of 
the  one  twill  shown  in  b  type  is  drawn  in  four  times  in  rotation,  whereas  its  corresponding  point 


HDB  a^aa  a" 
ca  aa  a  a 
caa  a  a  ■:: 


:;""'a^an3a'  :ana  'aa     o  a  u  a  a  ;a 
;  a  ::  a  aa  a  a  aa  a  a  a  a  a  aa  ■ 
a  a  ::a  ■  a  aa  a  a  a  aa  a  ■ 
aaa  aa         aa  a  a  aaa  aaa  a  a  g 


a  a  a  a  a  BL 


I  aaa  aa^a-.a  .BB-a.a^ 
Fig.  373. 


"3  a  aa  a  a  aa  a  3,.a  3  .a 
a  a  a  ::a  a  a  aa  a  a  a  a 
a  a  a  a  aa  a  a  aa  a  a  a 
laa  aa  a      ;:a  a  a  aaa  aa 
a  a  a  a  B'J 
aa  a  a  BJ 
a  aa         aa  aaa l 
a  a  aa  a  a  a  a  a 
::b  a  a  aa  a  a  a  b 
::a  a  a  aa      a  a 
aa  a  a  aaa  aa 
aa  a  a  a  U3 
aa  a  a  aa  a. a  bj 
M  aa_a_a_aa_aaB3 

to 


tor  the  other  twill  is  arranged  to  correspond  as  nearly  as  possible,  without  producing  any  place 
for  filling-floats  on  rear  of  fabric. 


78 


Fig.  373  illustrates  the  corkscrew  weave  as  derived  from  the  7-harness  twill  j  v/hen 

using  double  draw  given  under  Fig.  372.    Repeat:  40  warp-threads  7  picks. 

Double  draw:  requiring  7-harness  for  the  40  warp-threads  in  repeat  of  weave. 

The  next  step  in  figuring  in  this  division  of  corkscrew  weaves  is  the  use  of  filling-float 
efifects  as  explained  under  sub-division  C. 


■  ■  ■■  ■■■  J 


L<B  ■  ■■ 
(  ■   ■■  I 

cmm  m  ■ 


jBaucJUBijauBBL/BaauBBrjaDi 


■  BBB  BB.B  a  a  aa  a  a.aiau 
■ua.jB^aijBB  a..a'.:8:^aB'  a^B:  mj 
■uBuBuBnauBaMMBuBUBBuaBaa 


Fig.  374. 

Corkscrew  weave  Fig.  374,  is  designed  to  clearly  illustrate  this  point.  Repeat :  40  warp- 
threads  and  9  picks. 

The  regular  twill,  which  is  used  for  the  construction  of  the  curved  corkscrew,  is  the  ^  ^ 

9-harness  twill.  ■  for  raisers,  □  for  sinkers,  from  curved  corkscrew  ;  ■  for  sinkers  for  floating  the 
filling  upon  the  face  of  the  fabric. 

£.     Corkscreiv  Weaves  Composed  of  Warp  and  Filling  Tiuills. 

If  all  the  different  divisions  of  corkscrew  weaves,  thus  far  explained,  are  used  in  practical 

work,  the  warp  will  form  the  face  and  back  of  the  fabric,  whereas  the  filling  will  rest  imbedded 

,  .c           ~  a  a  Bi  ma 

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aa . a  ai  au 


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rjBBBanuon 

BBBB..  ijCQ 


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ai  aa 

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J'  m  u 

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13 


Fig.  375.  Fig.  376.  Fig.  377. 

between  the  warp  (except  in  the  few  floating  spots  used  in  Figs.  374,  367,  366).  In  the  present 
division  of  corkscrews  the  filling  is  used  to  show  a  third  line  besides  the  two  lines  produced  by 
the  warp. 

To  give  a  thorough  understanding  Figs.  375,  376,  377,  378,  379  and  380  have  been  designed. 


isncG'^  ^aaaaa 
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aaGQGGaaGaaGuaaaGi-":caGCGH 
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GT : GGGGaBGUGcanQaHGaancG 
'  n  Li  jGaGGaaGGOQQQnaGGGnc 
;  1  M  ajaQaGGaGBCQaGGGaaca 
'  I  IB  :  jaaGaaaHGGGGDGaGDGDn 
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24 

Fig.  378.  Fig.  379.  Fig.  380. 

Fig.  375  represents  the  9-harness  twill  known  as  - 
Fig.  377  is  produced     Repeat  for  the  latter:  18  warp-threads  and  9  picks. 


Fig.  376  the  drafting  by  which  weave 
For  drawing-in  use 


74 


either  i8-harness  straight  draw,  and  for  harness  chain  one  repeat  of  corkscrew;  or,  9-harness 

double  draw  (Fig.  376),  and  for  harness  chain  the  ^  5  twill  (Fig.  375). 

Fig.  378  represents  the  12-harness  ^  ^  twill.    Fig.  379  the  drafting  by  which  corkscrew 

weave  Fig.  380  is  derived.    Repeat  for  the  latter:  24  warp-threads  and  12  picks.    For  drawing- 

in  use  either  12-harness  double  draw  (Fig.  379),  and  for  harness  chain  the  ^  ^  twill  (Fig.  378); 

or,  24-harness  straight  draw,  and  for  harness  chain  one  repeat  of  corkscrew  weave,  24-harness 
and  12  picks  (Fig.  380). 

F.    Coi-kscrezu  JVeaves  Figured  by  the  Warp. 

In  this  division  of  corkscrew  weaves,  figures  of  any  size  or  form  are  produced  by  arranging 
a  corresponding  floating  of  alternate  warp-threads.    Every  uneven  numbered  warp-thread  (i,  3, 


no 


l:  :  3  a  :  ;  □ 
a 

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a  a  a  a  aa  J 
a  a      aa  blj 
a  a  as  ■ 
aa  ■ 
J  aa      a.  ajaa 


Fig.  3S1. 


Fig.  382. 


5,  7,  etc.,)  is  used  for  producing  the  figure,  while  the  ground  is  produced  by  the  even  numbered 
warp-threads.    Figs.  381  to  383  are  designs  illustrating  this  method  of  figuring. 


■□■  aa^a  "a 


■"■HDaDaa^ani 
■aja^aana  ja:"i 
~a  aa  a  aa  a 
aa  a  aa 


Fig. 

381. 

Repeat : 

16 

warp-threads 

and 

picks. 

Fig. 

38-' 

Repeat : 

22 

warp-threads 

and 

picks. 

Fig. 

383- 

Repeat : 

20 

warp-threads 

and 

picks. 

10 


I  2 


55 


aa 

□a 
na 


a  a 
a  a 
a  a 


Before  closing  the  lecture  on  the  corkscrew  weaves 
we  shall  briefly  refer  to  division  G  of  the  latter,  or 
corkscrezv  iv  eaves  in  zvhich  the  face  and  back  of  i J ic  fabric 
is  produced  by  the  filing;  the  warp  resting  between 
the  filling. 

This  arrangement  for  corkscrews  is  very  little  used, 

on  account  of  the  high  number  of  picks  required  to 

produce  a  close  face  in  the  fabric. 

In  Fig.  384  we  give  an  illustration  "P^^Sbb 

of  the  7-harness  filling  corkscrew.  This    ■  ■"■ 
.     .  '  ■■■ 

weave  readily  explains  itself  as  the  mate    Taaa  " 

[  aaa 

to  the  warp  corkscrew  illustrated   in  f'aaa 

a  a 

Fig.  350,  page  69,  the  raisers  being  iG""aa 
exchanged  for  sinkers  and  vice  versa.        Fig.  384. 
Repeat :  7  harness  and  7  picks. 
In  the  same  manner  any  design  given  under  headings  A  and  B  of  the  sub-divisions  of 
corkscrews  can  be  used  for  filling  face  by  proceeding  with  it  the   same  as  with  Fig.  384 
in  Fig.  350. 


■  a:: 
aa  a  aa 

SGa^aa^a.. 


Fig.  383. 


75 


VIII.    Entwining  Twills. 

This  class  of  the  twill  weaves  (which  might  also  be  considered  another  kind  of  "broken 
twills")  is  derived  from  the  regular  twill  weaves  by  running  one,  two,  three  or  more  pieces  of 
twills  parallel  to  each  other  in  one  direction  (45°  grading),  and  towards  these  twill  lines,  at  right 
angles,  a  second  system  of  one,  two,  three  or  more  pieces  of  twill  lines  (generally  of  equal  size  and 
construction  as  the  first).  This  arrangement  of  twills  meeting  each  other  at  right  angles,  the  one 
twill  continuing  where  the  other  stops,  and  alternately  changing  between  both  systems,  will  give 
the  fabric  the  appearance  of  entwining  twill  lines  or  set  of  twill  lines ;  hence  the  name. 

The  following  designs.  Figs.  385  to  396  readily  explain  themselves  as  such  twill  weaves, 
and  also  illustrate  the  manner  of  constructing  similar  original  weaves. 

Fig.  385  repeat:  8  warp-threads  and  8  picks.    This  design  is  constructed  ■'■■^"■■■'^■■i 
from  the  4-harness  ^  twill,  and  has  two  parallel  lines  of  twills.  FfaS       ■«!  ■■■ 

Rule  for  Finding  the  Number  of  Harness  Required  for  Entwining  ■■  .5'."s"'_5"'i^ 
Twills: — The  number  of  harness  required  (or  warp-threads  in  one  repeat)  jj^"  "j^"  j^.* 
is  ascertained  by  multiplying  the  repeat  of  the  foundation  twill  by  the  li-^J"  ^"j  ^j"  J|!j 
number  of  pieces  of  twills  used.  ibc^«5"b  !" 

In  the  present  design  this  will  result  in  the  following  multiplication :  Fig.  385. 

4  X  2=8 

Repeat  of  foundation  twill  X  pieces  of  twills  used  =  number  of  harness  required. 

It  will  be  advantageous  for  the  student  to  construct  additional  designs  of  entwining  twills 
out  of  the  4-harness  ?  ^  twill,  using  3  pieces  of  twills  =  12-harness ; 

4  "  "      =  16-harness; 

5  "  "      =  20-harness,  etc.,  etc. 

The  rule  given  for  ascertaining  the  repeat  of  the  warp-threads  in  the  design  will  also  apply  to 
the  repeat  of  the  picks. 

Fig.  386  represents  the  entwining  twill  formed  with  the  6-harness  ?  3  twill  and  four  pieces 

of  twills.    Thus  6  X  4  =  24  warp-threads  and  picks  for  repeat. 

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1  24  1  "4 

Fig.  386.  Fig.  387. 

Fig.  387  illustrates  the  entwining  twill  produced  with  the  8-harness  5  twill,  having  three 

pieces  of  twills  for  the  construction.    8  X  3  =  24  warp-threads  and  picks  in  one  repeat. 

In  accordance  with  designs  Figs.  386  and  387,  and  their  methods  of  construction,  the  fol- 
lowing designs  may  readily  be  produced : 

^  3-6-harness  twill     "I     X  2  pieces  of  twills  =12     f     repeat  of  warp-threads 

for  foundation  weave     i     X  3      "  "     =  18     \  and  picks. 

~  j-8-harness  twill     \     X  2      "  "     =  16     f     repeat  of  warp-threads 

for  foundation  weave     /     X  4      "  "     =  32     \  and  picks. 


76 


A  sub-division  of  these  entwining  twills  is  produced  by  forming  sqisares  surrounded  by 
parallel  twill  lines.  The  squares  thus  produced  may  be  filled  up  by  other  twills,  basket-weaves, 
rib-weaves,  etc.,  or  they  may  be  left  empty.    In  this  manner  designs  Figs.  388  to  395  are  formed. 


■■■  ■ 
■■■ 


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L    ■■  . 

LMm  m 


mm  aa 
mm  L^ja 
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Fig.  s88. 


Fig.  3S9 


Fig.  388.  Repeat:  8  warp-threads,  8  picks.  In  this  design,  which  is  constructed  from  the 
-=  8-harness  twill,  the  squares  produced  by  the  twill  lines  is  left  empty. 


Fig.  389 — repeat:  8  warp-threads,  8  picks — is  produced  from  the  ^  8-harness  twill;  the 

squares  produced  by  the  twill  lines  entwining  each  other  at  right  angles,  is  filled  out  by  the  two 
centre  warp-threads  interlacing  with  the  filling  in  the  shape  of  a  4-harness  twill. 


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Fig.  390. 


Fig.  391. 


390 — repeat:  12  warp-threads,  12  picks — is  produced  from  the 
the  squares  in  this  weave  being  filled  out  by  the  motive  3—! — j — !— g  twill. 
Fig-  391 — repeat:  16  warp-threads,  16  picks — is  produced  from  the  - 
Fig-  392 — repeat:  16  warp-threads,  16  picks — is  produced  from  the  — 


Fig.  392. 

— q  i2-harness  twill; 


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mm    mm  gq:  aa    aa    aa  aa 


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i6-harness  twill. 
16-harness  twill. 

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aa  B 
aa  BB 
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£4 

Fig.  393. 


aa    aa  aaa 

Bau.aa_._aaG 

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Zi 


Fig.  394. 


Figs.  389,  390,  391,  392,  as  well  as  the  following  three  weaves.  Figs.  393,  394  and  395,  show 
the  twills  interlacing  each  other  thus  while  the  weave  used  for  filling  out  the  squares,  produced 
by  means  of  the  latter,  is  shown  thus  a. 

Fig.  393,  repeat:  24  warp-threads,  24  picks.  In  this  design  an  additional  entwining  arrange- 
ment of  twills  is  used  for  filling  out  the  squares  produced  by  the  main  entwining  twill  lines. 

Fig.  394,  repeat:  23  warp-threads,  23  picks.    In  this  design  two  kinds  of  basket-weaves  are 


77 


used  (alternately)  for  interlacing  warp  and  filling  in  the  places  of  squares  produced  b}-  the  main 
entwining  twill  lines. 

Fig.  395,  repeat:  24  warp-threads,  24  picks.    In  this  design  a  pointed  twill  is  used  for  filling 

out  the  squares  produced  by  the  entwining  twill  lines. 

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■■■         ■■■      ■■■             ■■■  ■□LBB    ■    mm  mm 

■■■  '  ;  ■■■                           ■■■  <  I  :■         ■■■    ■■:  nmm 

□  '  ■■' ■■■  '  '  ■■■  'J  mm..u  □■■  ■■  .  ■  ■■  .  mm'i 
^     i:      mmm      mmm  :}                   .Jua  hl  ■■  ■    ■■    ■■■    ■■  ~i 

■■■  .  amm                        .dh  ■■  ;  ■■    ■    ■■  ■ 

[         ■■■      ■■■                      v.  mmm  ■  mm'  _mm 

a  :    ■■■  •    mmm    mm                  ■  ■■  '  ■■' :  ■■  .■ 

I    '  ■■■      ■■■      ■■■                       }.  1  ■■  ■    ■■    ■■    ■■■  I 

[    ■■■      ■■■         ■■■             ■■■  ■■  ■■■■■■ 

LMBB      ■■■    ■■      ■■■         ■■■      ■  ■  ■■    ■■    ■■  ■■■ 

■■■      ■■■  '    ■■■  ...           .^mmm  .  dhiu  .■■    ■■  i  ■■  r.  mm  :  ■<  i 

\  si  1  -j.t 

Fig.  395.  Fig.  396. 

Fig.  396 — repeat:  23  warp-threads,  24  picks — illustrates  the  novel  combination  of  an  entwin- 
ing twill  and  suggests  the  great  variety  of  weaves  which  can  be  designed  for  this  sub-division  of 
the  regular  twills. 

J 

IX.    Twills  Having  Double  Twill  Effects. 

These  twill  weaves  are  obtained  by  connecting  two,  three,  four  or  more  parallel  twill  lines, 
in  one  repeat,  with  another  twill  line  (main  line)  which  runs  in  an  opposite  direction. 

Rule  for  Constructing  these  Weaves. 

Run  your  main  twill  at  a  grading  of  45°  in  a  direction  from  left  to  right  over  the  entire 

repeat  of  the  weave  (see  ■  in  weaves  Figs.  397,  398,  399  and  400);  next  run  the  other  twills  at 

right  angles  to  the  first  mentioned  twill  (see  □  in  weaves  397  to  400)  and  stop  so  as  to  form  a  clear 

BOncccanMnBarcnB  connecting  spot  (and  without  running  both  twills  into  each  w,mmm  a-'naa-^a^aoam 
'.y       '  :■■  naai  t  mm  o    1       \  a  q^;,- 

B::    mS'  H::  ".I"  !      Other).  '  "  B::  "B::  =1  iSK 

^■B  s.,"^  Figs-  397  to  400  are  weaves  designed  in  this  manner,  jjjSSS'p^ 

T  B:;         a::  and  clearly  illustrate  this  sub-division  of  twill  weaves.  gn  [lahB 

E        ■■!  ■■  1  •'  a::  ■■■■ 

PB^.":;J-;;_.:":y  Fig-  397-     Repeat:  8  warp-threads,  8  picks.    "Main     □  ".KlViaSga 

ijiSSaBabBiMSbM    twill"  is  8-harness,   "  cross-bar  twill   or  double    I'iSSS"  Ba'^^gSiR 

Fig.  397.  will  effect "   for  2  warp-threads.  Fig.  398. 

Fig.  398.  Repeat:  16  warp-threads,  16  picks.  "Main  twill"  i  =  i6-harness.  "Cross- 
bar twill  or  double  twill  effect"  ?  for  5  successive  warp-threads. 

•-'■•□□HnCnGHHCBH 

7: 

a  :::::}  ■■  i 
h::  ■■  a 

an::'  -  ran— ■  '  ' 

c:  ■■  ,  ;;:)::    Ba  a 

PPEo<,,  ^'-"S^  WBnDMDDHHnDHHDCB  ::::  mm 

P  -  ">r;;„  mBBnca':  ^□□"□□pbh  e:  ■■ 

C'-  "fi"_!S"  cam    n:3    '^y^'  mmn  bb  □ 

"  <  BB        ::::        bb  i  an::    mm  i: 

aa  bbb      :^  ■  bb    ■  ^".a  mm  .'.laa 

PHS.,    "  =^i55".,;<,    J  c-^-    '"-^        BB,    bS  C;.  n 

pP>    „      "_55"   ^E<„  I-  BB      BB  1  r  BB 

S'  ''><''_55"„;;„    -"''^  "B    BB    □  □  BB  □ 

"  J  "   ■■      BB  ]  □   BB    -  CX}H 

RS-  -5S".:    "  ><„  I        ■■■    BB    :;u  1  CBB 

PR''-5S"..;;..    '^So  „  '       ■■  '  bb        c:a  tbb  a  ::an 

-'"iii.,  n    bb    bb    a::    □  BB  :;:3c:  , 

PaSfB      -'iii-„  G  aa  i.bb       .an   j  bb    aaa      □  , 

i-SS,>r^><rv -',  -'P'SKr,' '  "jo^  uBBLii  .iBBQi         QBU  .'J  .aas^j-:  :m 

IMBuaQaLjLLQaajuLJHU  '■■□UBBDaUDHaDUBri  IBLBU'^jJQBB-aB 

'  18  1  10  1  12 

Fig.  399.  Fig.  400.  Fig.  401. 

Fig-  399-    Repeat:    18  warp-threads,  18  picks.     Main  twilP-  =   1 8-harness.  Cross 

bar  twill  or  double  twill  effect  ?  3. 


78 


Fig.  400.    Repeat:  1 6  warp-threads  and  16  picks. 

The  main  twill  in  the  present  design  is  '—^ — - — jg  =  i6-harness.  The  "  crossbar  twill,"  or 
double  twill  effect,  is  the  ^  4-harness  twill. 

Twills  of  a  different  grading  than  45°  for  the  main  twill  line  can  also  be  used.  For  example, 
steep-twills  of  63°,  70°  or  75°  grading.  Again,  the  cross-bar  twill  may  be  changed,  if  required, 
to  a  like  different  grading. 

Fig.  401  illustrates  a  fancy  twill  of  the  present  division  constructed  from  the  63°  steep- 
twill  derived  from  the  ^  =  24-harness  foundation-twill  for  the  main  twill,  and  the  3 

=  6  harness  45°  twill  for  the  double-twill  effect. 


X.    Twill  Weaves  Producing  Checkerboard  Effects. 


This  sub-division  of  the  twill  weaves  is  obtained  by  combining  any  of  our  regular  twills, 
warp  for  face,  with  the  same  twill  weave,  filling  for  face. 

Rule. — Divide  the  repeat  (equal  distance  for  warp  and  filling)  into  four  even 
squares  (see  diagram  Fig.  402),  and  insert  the  twill  weave,  warp  for  face,  into 
every  uneven  numbered  (i,  3,)  square,  and  the  twill  weave,  filling  for  face,  into 
every  even  numbered  (2,  4,)  square. 

The  direction  of  the  twill  in  the  warp  effect  must  be  opposite  to  the  twill  in 
Fig    02     ^  ^^^^  filling  effect;   hence  if  running  the  direction  of  the  twill,  in  the  present 
abed  repeat  of  ^^^Tiple,  for  the  warp  for  face  effect  from  the  right  to  the  left,  we  must  run  the 
weave.         direction  of  the  twill  in  the  effect  having  filling  for  face  from  the  left  to  the  right. 
This  direction  of  running  the  twill  is  illustrated  in  the  diagram  Fig.  402  by  the  four  arrows. 
Another  point  to  be  kept  in  mind  when  designing  for  this  kind  of  weave  is,  that  in  places 
where  the  warp  and  filling  effect  meets,  a  clear  cut  must  be  produced;  vice  versa,  change  from 
sinker  to  raiser  or  raiser  to  sinker. 

For  illustrating  the  foregoing  rule  weaves  Figs.  403  to  41 1  have  been  constructed. 

Design  Fig.  403  illustrates  the  checkerboard  effect  obtained  from  combining  a  double 

repeat  of  the  3-harness  twill  =  j  with  a  double  repeat  of  its  corresponding  filling  effect  5  ^. 

Repeat:  12  warp-threads,  12  picks. 

Design  Fig.  404  is  constructed  from  the  4-harness  ?  j  and  *  3  twill.    Each  effect  used 

for  four  successive  warp-threads  and  picks  equals  one  repeat  of  the  weave  in  the  warp  and  filling 
effect.    Complete  repeat  of  the  design  calls  for  8  warp-threads  and  8  picks.  ^ 


Fig.  403. 


1        4  8 

Fig.  404. 


loannaBDHBBB 

ciQ'^rmm  mm 

■  ■■■  ^^3 
■■  ■■ 

 '■□□L^Gaa 


1 


Fig.  405. 


16C1  in  r-n- 

r::  ■ 

B  ■ 

[  .0  .a 

L     :}  ■ 

c,  :3  ■ 

r:;  ■ 

□  I 


■■■■ 


■■  1 
f'.  mm  ■■■■  a 

■  ■■  ■■■      □  .aa 

mm  mm  mm  vi  .aoa 
mmm  mm  m  :i  aoua 
■■■■  ■■        a  cnu 

■  _!■■■■'  jaoEiGarjaQa 

1  »  16 


Fig.  406. 


Fig.  407. 


Fig.  405  illustrates  a  similar  arrangement  as  explained  by  weave  Fig.  404,  applied  to  the 

5-harness  twill,  i  j  and  1  j.    Repeat:  10  warp-threads  and  10  picks. 

Design  Fig.  406  illustrates  the  checkerboard  effect  derived  from  combining  the  8-harness 


or  warp  face,  with 


being  the  filling  for  face  of  the  same  weave.  Repeat: 


twill  ^-j— 
16  warp-threads  and  16  picks. 

Design  Fig.  407  represents  the  checkerboard  effect  derived  by  combining  the  4-harness 
broken  twill,  warp  for  face,  with  the  same  weave,  filling  for  face.  6  warp-threads  and  6  picks  or 
equal        repeat  are  used  for  each  effect.    Repeat:  12  warp-threads  and  12  picks. 


79 


Combination  of  Warp  and  Filling  Effects  from  a        Tiuill  Weave  after  a  given  Motive. 

The  next  step  towards  figuring  twill  weaves  is  found  in  combining  the  warp  and 
filling  effect  of  a  regular  twill  (the  same  as  used  in  the.preceding  chapter  on  checkerboard  effects) 
after  a  given  motive  (idea  of  a  figure  as  desired  to  be  made).  Weaves  Figs.  408(2  and  410 
illustrate  two  examples,  which  readily  explain  their  construction  after  the  motives  given  in  Figs. 
408  and  409. 


■■□□■■DO 

1  4 

Fig.  408. 

Motive  for  weave  Fig.  408a 
4  warp  and 
4  filling  changes. 


■  ■■■ 

■ 

■■B   ■■■  ■ 

( mmm  .    ■  i 

■      ■  ■  ■■■ 
■      ■    ■■  ■■■ 
■      ■■■  ■■ 
■■■      ■  ■■■ 

■ 
■  ■ 
■ 

'  m'  m 
■      ■  ^ 
■  ■ 
■ 

■■■  ■ 

■■■  ■  ■ 
■  ■■■  ~ 
■  ■  ■■ 
■    ■■  ■ 

■■  ■      ■■■  ■ 
■  ■■■      ■  ■ 
■  ■  ■■    ■  ■ 
■    ■■  ■  ■  ■■ 

;  ■ 
■  ■ 

■ 

■■  ■ 
■  ■■■ 

■  ■  .■■ 

■ 

■  ■■■  ■      ■■■  ■  ■■ 
■      ■  ■■■  ■■■  ■ 

■      ■  ■  ■■■  ■■  ■ 
■      ■    ■■  ■■■  ■  ■  ■ 

■  ■      ■■■  ■■■  ■  ■ 

■  ■ 
■ 

■  ■ 

■1 
■i 

■■■'J 

■■■ 

Mmm  Mm 

■j:Ha  M 

Fig.  408a. 

Weave  derived  out  of  motive  Fig.  408. 
Repeat :  16  warp-threads,  16  picks. 


Fig.  408  represents  a  motive  after  which  weave  Fig.  408^2:  is  constructed.  The  motive 
calls  for  four  changes  in  effect  in  each  direction,  which  equals  (4X4  =)  16  possible  changes 
over  the  entire  surface  of  one  repeat  in  the  motive.  In  the  design  (weave)  Fig.  408^, 
4  warp-threads  and  4  picks  are  used  for  each  change  in  the  motive,  and  the  4-harness  twills 

^  g  and  ^  J  (warp  and  filling  effect  of  the  same  regular  twill)  are  used  for  interlacing 

warp  and  filling. 

The  rules  given  under  the  head  of  checkerboard  effects  also  apply  to  this  sub-division. 


■■  IG 
■■ 

■  ,  MmjM 
Mmo 

Fig.  409. 


Motive  for  weave  Fig.  410 
4  warp  and 
8  filling  changes. 


I J  ^"'B  ~  ~  ■  ■  ■■■  mm~  m  :■  mMm 
1       ■  ■      ■    ■■  ■■■  ■  ■      ■    ■■  ■ 

r  ■      ■  ■■■  ■■■      ■  ■ 

J  ■    .  ■  ■  ■■■  ■■    ■      m  i 

(  ■■■  ■■■  ■      ■      ■■■  ■■■  ■      ■  J 

f  }  :  m      m  mmm  ■■■      ■      ■  ■■■  ■■■ 

(        ■    .  ■■■  ■■■  M     M      mmm  mmm  1 

J  mzMm    m      mm  mmm  mm  ,  m      ■  ■  ■■ 
1  ■■  ■  ■      ■    ■■  ■■■  ■  ■      ■    ■■  ■ 
(  ■■■  ■      ■      ■■■  ■■■  ■      ■      ■■■ 1 
(       m  mmm  mmm      m      m  amm  mmm  m 
'   ,  M  m  mmm  ■■    ■      ■  ■  ■■■  ■■    ■  ] 
'  ■■  ■■■  ■  ■      ■    ■■  ■■■  ■  ■  1 
■■■  ■■■  ■      ■      ■■■  ■■■  ■  ] 
■■■      ■      ■  ■■■  ■■■ 
avm      m  m  mmm  mm    m      mm  mmm  mm 
□■.J    ■  .  ■■  ■■■  ■  ■    .  ■    ■■  ■■■  ■ 
m'j  ":  m      mmm  mmm  ■  '  .  ■      mmm  mmm  i 


mmm  mm  m 


m  M  mmm  ■■  ■  ■ 
■         ■■■  ■  ■ .     ■  . 


1       2       3  4 

161 

Fig.  410. 

Weave  derived  out  of  motive  Fig.  409. 
Repeat :  16  warp-threads,  32  picks. 


Fig.  409  represents  a  motive  after  which  weave  Fig.  410  is  constructed.  The  motive  calls 
for  four  changes  warp,  and  eight  changes  filling,  ways,  which  equals  (4X8  =)  32  different 
possible  changes  over  the  entire  surface  of  one  repeat  in  the  motive.  In  weave  Fig.  410,  4  warp- 
threads  and  4  picks  are  used  for  each  change  in  the  motive,  with  the  4-harness  twills  ?  j  and 

^  3  for  interlacing  warp  and  filling. 


80 


XI.    Fancy  Twill  Weaves. 

The  next  plan  for  designing  twill  weaves  is  that  of  combining  basket  weaves,  rib  weaves, 
etc.,  arranged  in  the  shape  of  twills,  with  any  of  the  regular  twills  as  may  be  desired. 
Weaves  Figs.  411  to  421  illustrate  a  few  such  examples: 

■■■  m  w  an  m2 
mm  m  aii  m  m 

■  ■  nc:  ■  ■■ 

^mm  o  ""^.nna'jm  ■  m    ::::    aa  m  mmm 

m  ■  a-^  ■ 

LsziD      c  mmm  r.n    aa  m  mmm  m 

B      Daa  iza  m  mmm  bj 

a  '    aa  m  mmm  m  j 

■cnBQQH  B  ;    ,a  mmm  :aa  o::    ■  ■■■ 

mmm  □□□  m  mmm  m 

■■■  najo  ni:    m  mmm  m  ua  j 

□{:<::■■■!  □  mmm  c:ogug  ■  ■■■  ■  j 

a  mmm  .  a  ■■■  a      aa  m  mmm  m  aa 

Lmmm  aa  ]  ni:      aa  m  mmm  m    nn  aa 

immmz^.aaj  ihb-.e:ce:..^^l:bg  >■  ■■■  ■  aa^  ir^  J 

18  1  12  1  ir, 

Fig.  411.  Fig.  412.  Fig.  413. 

Reneat  •  /  ^  warp-threads,  Reneat  ■  /  '  ^  warp-threads,  Rpne;,l-  •  /  warp-threads, 

Kepeat .  |  g  ^^^j^^  Kepeat .  <j  ^  ^  Kepeat .  |  ^-^^^ 


m 

( aD^t:  " 
[         nc;a  ■ 
e;  .  ■■ 
a      zv^  ■■■ 
a  mmm 
I  ■■■ 
n  '^a    mmm  c 
■■■ 
■■■ 

1  ■■■  aac 
1  ■■■ 


□ 

J 
□ 

aa 

J 


1 


Fig.  414. 


m  aaaa    "  no  m 
'jaa  awn  mm 
an  a       n  mmm 
n  a  anaa  ■■■■ 
nn  n  n       mmm  : 
□      c      ■■■  J 
a  D  n    mmm  a 
nn  n  n  mmm  a 
n  a  mmm  nana  i 
na      mmm    aaa  a 
a  mmm      na  ai 
ns  mmm        a  n  a 
mmm      nn  n  ai 
mmm      n  n  a  a  i 
mmm      a    n  n  n  i 
 □□Ha_E:^_G  J 

16 

Fig.  415. 


lOmOaDBBDBB      BED  J 

a 

E  .mm  mm  nana  asa 
c  mm  mm    nr.z:  a  i 


■■  ann  n  _mm  i 
■  .  an  an  mm  m 
I  a  ana  mm  mm 
Eaaa  nana  mm  mm  : 
ana  a    .    ■■  ■■  j 

BOUOB  ~;     ■■  ■■  .] 
a  naa    mm  mm 
i^nnan  mm^mm^anna 


1 


10 


Fig.  416. 


Repeat : 


16  warp-threads, 
16  picks. 


Repeat : 


16  warp-threads, 
16  picks. 


Repeat : 


16  warp-threads, 
16  picks. 


cmm  nna  ■■□ 


I  an  I 
na  mu 
nn  mm 


■■  J 

□ 

3n  J 


zana  mm  mm 
L  aan  mm  mm  , 
a  ■■  a 

E  mm  mm  a 
B  ■■  ■■  □ 
'  ■■  ■■  naa  ] 
■■  ■■  anasi 
m  mm  an  ■ 
■■  aa  .  ■■ 
'  ■■  aa  mm  \ 
mm  aan    mm  j 


;  aa  

a  mm  mm  aa 
a  mm    mm  n:i 

mm    mm  nn 
■■    ■■    aa  'J 
■    ■■      nn  ■ 
[    ■■  aan  mu 


■■J 
■■  J 

■■  na 

I  na 

aa 

■yaa  u 


■■      ::::  ■■  j 
■  aaa    mm  u 
ana  mm  mm 

aa  mm  mm .] 
Ea  mm  mm  .  ] 
aa  mm    mm  j 

c . ■■  -Mm  aaa 

aaa 

IMDUHBCjEHLjUiJ 


Fig.  417. 


Reoeaf/  warp-threads, 
^      ■  \  60  picks. 


na  mmm 
yaa  ■■■ij 
■■■  ,□ 
■■■  >  J 


I     .  ■■■  jQ 
■■■ 

■■a  aa  i 
■■■  a 

■■  aaa  aa 

I    aa^a  i 

18 


Fig.  418. 


Repeat : 


18  warp-threads, 
18  picks. 


'.munnmrnaaaonaaczwiormmonu 

■  ■■  aa  aa  an  bbigh 
c  ■■  na  :  mm  mmm 
LBB  aa    aa  mm 

■■  aa    aa    aa  mm 

■  aa  aa  c:g  ■■  ■■■  .  :■ 
LUG  na  aa  mm  mmm  mm 
caa    aa  aa 


"'3 


nn  ■■ 
■■ 


■■■    ■■  a 
■■■    ■■  □ 

IB    ■■  ::::  i 
I    ■■    :::]  1 
■■  na  a 

mm    an  oa 
■■  :::: 

■  ::::  nao 
mmm  mm  aa  aa  :  ja 
■■■  ■■  na  aa  na 
■■  ■■  ::::  ::::  aaa 
■    ■■  :::: 

■■  an    an    an  :m 
mm    nn    aa  aa^mu 
um  ,aa  .  aa    aa  ^  \^mma 


Fig.  420. 


Repeat : 


24  warp-threads, 
24  picks. 


^oaBnEjaaBDaMBDaaaQQBEiEi 

HanDBHaBBHDBHi:j[3L'\'i  I  111 
[:n3BBCBHB::jBB'  .  '  □□□□□ 

a  mm  mmm  mm  .  a  } 
I  ■■  ■■■  ■■  a  n  □uuBG 
■■  ■■■  J 


I  ■■  n  mm 

mm  a  n  n  .  mmj 
IB  c:  E  ■■  ■ 

I  n  n  mm  mm 

n         n      mm  mmm 

naa'nn      mm  mmm  1 


a 


a 


ia  BBB  aa 


a  n  n         mm  ■■■  ■ 
En:;  aa.aaa.ai 
c  □  E      aa  aaa  aa 
□      a    mm  aaa  aa 

iL:].^E]^a..^aa.  aaa^aa  

1 


Fig.  419. 
"Repeat 


saaaaDoaaBDaaDaaaonaDDnao 
DanaDaDDDaDDGaaaaBDnGaaa 
aGGoaaaBaGG!")BBBGanGG»':GG 
'~~''aaa  a'^'Ga"'.'..  a:  G~a  'aaa 
aaa  aaa  aaa  aG 
a  aaa  aaa  a  a  a~JG 
aaa<  a'....'  .a^...:ja^.i  a.. aaa  "jg 


Repeat 


Fig.  421. 

24  warp-threads, 
8  picks. 


81 


XII.    Pointed  Twills. 

Pointed  twills  constitute  the  next  sub-division  of  twills,  and  are  derived  from  the  latter  by- 
means  of  point  draws  (previously  explained  and  illustrated  under  the  head  of  drawing  in  drafts, 
page  33).  The  plainest  "point  draw"  calls  for  each  harness  in  rotation  (beginning  at  number 
one,  or  front)  until  all  harnesses  are  taken  up.  Next  proceed  to  draw  the  rotation  of  harness 
backwards  until  you  get  on  to  the  starting  point.  The  first  and  last  harness  of  the  set  (represent- 
ing the  front  and  rear  harness),  technically  known  as  "  point  harness,"  are  drafted  only  once ;  thus 
requiring  only  one-half  the  number  of  heddles  compared  to  the  others.  If  using  a  fancy 
point-draw,  use  the  point  harness  in  the  one  effect,  straight  in  the  next  effect,  and  vice  versa. 


■  ■  ■■ 
■  ■■■ 


■■■■■   ■  ■ 


■   ■■■   ■  I 

r  ■■■  ■  ■ 


■  ■  I 
I  ■  ■ 

■  ■ 

■  ■  I 

■■■  ■ 


■  ■■ 

■ 

■  ■ 

■ 

■ 

■■■ 

■ 

[  ■■ 

■ 

■■■■■ 

■■■  ■ 

'  ■■ 

■■ 

■ 

■■■  ■■ 

■  ■ 

■■  ■□ 

■■  ■ 

■■■ 

■ 

■ 

■ 

■■■ 

■  ■ 

'  ■ 

■ 

■ 

■ 

■  ■ 

■ 

■  ■■ 

1  ■  ■ 

■ 

■ 

■ 

■  ■ 

■  ■■□ 

■  ■■ 

■ 

■  ■■■ 

■  ■ 

■  ■ 

■  ■  jQ 

■■■ 

■■ 

■ 

■ 

■■■ 

■ 

■  ■  .  !■ 

Fig.  422. 


Fig.  423. 


Fig.  422  illustrates  a  "  point  twill  "  composed  of  the  — 
regular  4-harness  point  draw,  i,  2,  3,  4,  3,  2.    Repeat:  6-harness  and  4  picks 
Fig.  423  represents  a  "point  twill"  composed  of  the  21-harness  — ^  '  ^  '  ^  '  . 


Fig.  424. 

4-harness  twill  executed  on  the 


2  '  i  W  2  regular  twill. 
The  point  draw  required  is  as  follows:  i,  2,  3,  4,  5,  6,  7,  8,  9,  10.  li,  12,  11  10,  9,  8,  7,  6,  5,  4,  3,  2. 
Repeat:  22  warp-threads  and  21  picks,  requiring  12-harness  point  draw.  This  will  illustrate  that 
the  entire  repeat  of  a  regular  twill  must  not  be  used  in  the  construction  of  its  "  point  twill,"  as 
in  the  present  example  only  12  threads  of  the  regular  twill,  with  21  threads  for  repeat  in  weave 
are  used,  (9  threads  being  entirely  omitted). 

The  second  kind  of  "  point  twills  "  is  designed  from  the  regular  twills  by  means  of  a  "  fancy 
point  draft."  For  example,  weave  Fig.  424,  which  in  its  mode  of  construction  is  designed  from 
the  ^  ^  ^  ^  ^  ^  15-harness  twill  by  means  of  the  following  fancy  point-draft:  I,  2,  3,  4,  5,4, 
3,  2,  I,  2,  3,  4,  5,  6,  7,  8,  9,  10,  11,12,  II,  10,  9,  8,  9,  10,  II,  12,  13,  14  and  15. 


■         ■      ■  □ 

-  ■      ■    [}    ■  I 


ran:  nmrmmrrm 


Fig.  425. 


riBzi.naj-iBtjBcaauDB 

■■□□HgHnDBDDBDHm 


Fig.  426. 


:3 


.  ■  ■ 

L  a  ■  L 
{.■a    ■  .■ 

Q    .  ■  .  .  ■ 


1 


0 


Fig.  427. 


Fig.  428. 


The  next  step  for  figuring  in  point  twills  is  to  arrange  the  pointed  effect  in  the  direction  of 
the  filling.  Giving  Figs.  422,  423  and  424  each  one-quarter  of  a  turn,  or  in  other  words  turning 
them  so  as  to  bring  the  filling  into  the  position  of  the  warp  and  the  warp  into  the  position  of  the 
filling,  will  produce  weaves  for  this  system.  A  straight  draw  for  an  equal  number  of  harness, 
which  is  necessary  for  the  foundation  twill,  is  required  for  this  pointed  twill  (filling  ways).  Thus, 
weave  Fig.  422  will  require  a  4-harness  straight  draw  with  6  picks;  weave  Fig.  423  a  21-harness 
"straight  draw"  with  22  bars  in  chain;  weave  Fig.  424  a  15-harness  "straight  draw"  with  31 
bars  in  chain. 


82 


The  next  course  for  figuring  in  pointed  twills  is  to  arrange  the  pointed  effect,  warp  and  filling 
ways ;  forming  in  this  manner  squares  standing  on  one  of  their  corners.  These  designs  offer  veiy 
many  fanciful  arrangements  and  are  extensively  used  in  the  manufacture  of  fancy  cotton  fabrics. 

Fig.  425  is  derived  from  the  3-harness  ^  ^  regular  twill  by  means  of  draft :  1,  2,  3,  1,  3,  2. 

Repeat:  6  warp-threads  and  6  picks. 

Fig.  426  represents  enlargement  of  Fig.  425  to  8  warp-threads  and  8  picks  repeat. 

Fig.  427  shows  the  same  weave  enlarged  to  10  warp-threads  and  10  picks. 


n  ■■■ 
■■■■■ 


L ■■■  ■■ 
□□■■■■I 


■■■■■ J 
■  ■■  1 
■  ■■■■  1 


Fig.  429. 


Fig.  430 


■      ■  ■  c 


■  aac  m  g  ■         ■  ] 

■  izau  m  i  a:za  m  i 

xy.i  mm  mm  a'^a  m 


Fig.  431. 


Fig.  428  illustrates  a  pointed  twill  derived  from  the  — ^  twill  by  means  of  point  draft, 
I,  2,  3.  4,  5,  6,  5,  4,  3,  2. 

Figs.  429  to  435  represent  a  few  novel  and  interesting  designs  of  "pointed  twills,"  which  by 
means  of  the  different  styles  of  type  used  readily  indicate  their  method  of  construction. 

Fig.  429.  Repeat :  8  warp-threads,  8  picks.  Point  draw  for  5-harness  as  follows  :  i,  2,  3,  4, 
5.  4.  3.  2. 

Fig.  430.  Repeat:  16  warp-threads,  16  picks.  Point  draw  for  9-harness  as  follows  :  i,  2,  3, 
4,5,6,7,8,9,8,7,6,5,4,3,2. 

Fig.  431.  Repeat:  24  warp-threads,  24- picks.  Point  draw  for  1 3-harness  as  follows:  1,2, 
3,  4,  5,  6,  7,  8,  9,  10,  II,  12,  13,  12,  II,  10,  9,  8,  7,  6,  5,  4,  3,  2. 


c^nMnMor'~mmM 
mamc.    ;  ■■■ 

DDDB  ■■■ 


mmm'.aam 


□□r;p 
■■□•I- 

nrc  m 


■□□ 

I  ■ !  lima 
■■  J  jam 
imm 

IB. 

I  -j.i,'jmoma 
aaramaa 


Fig.  432. 


r  aaaa 
■j:  ana 
BBB  G 
■j:  bbbbb 

::  BBBBBBBJQa 

B  BBBBB 
IBB   BBB  BBia 

BBB   B  BBB^Q 


Ha 

""laa 
□□□ 
an 

□ 


Fig.  433. 


aan  r.a  bbbbi 

aaa  a  a'^  bbbbi 

rcHc:  an  bbbbi 

BgH^^G^_:::;__  bbb 

[  GG^^ioa^^  i 

g"bbb  "gg":::; 

'  BBBBB 
I  BBBBB 


■  ao  □HGna 
I    GG  G<  aa 

■  GG  GGQ 

^,GG_j:^^Ka 

;g"gg"  "go 

GG  I 


;bb  bbbbbb 
bbb  bbbbb 

BBBB  BBB 


CG_ 

h"g:: 
g'^gc 

ILGQE 


BBBBB  BBBBB' 
BBB   BBBB   BBBB  BBB 
■BBBB   BBB   BBB  BBBBB 


BBBBBBB  B  B 
::   EBBBBBB   B  I 

JG  BBB 


GG  Gi  aa 

GG  GGH 
^^GG_^G_.^Ha 

ig'^gggggq 

:--GGGjGE!a 


Fig.  434. 


Fig.  432.  Repeat:  14  warp-threads,  14  picks.  Point  draw  for  8-harness :  i,  2,  3,  4,  5,  6, 
7,  8,  7,  6,  5,  4,  3.  2. 

F'g-  433-  Repeat:  24  warp-threads,  24  picks.  Point  draw  for  13  harness:  i,  2,  3,  4,  5,  6, 
7,  8,  9,  10,  II,  12,  13,  12,  II,  10,  9,  8,  7,  6,  5,  4,  3,  2.  This  design  has  only  the  point  arrange- 
ment, warp  ways. 


83 


Fig.  434.  Repeat :  38  warp-threads  and  38  picks.  Point  draw  calls  for  20-harness.  Draw 
harness  i  up  to  and  including  20  from  front  to  rear,  then  follow  by  drawing  harness  19  to  2  from 
rear  to  front. 

□  ^□□n  ^■■■HBH  : -n  □  "^T»":BB«[Dnan  t  ■"nnn"B»B"!B  :a  :-r"~  ■! '■■■-hhhd 

□a,!    11  m  mmm         a  mmm  m^a  r.^m  mmu  mmm  ■^^□j  tde]  . 

QB  ■■■■■      ■■■■■  iyS:i      'S"Ji      :5:z;  ■■■■■      ■■■■■  iitir.  ia 

gm^ar.i;}         ■■■■■  ■■■■■         :::x]  ■  ur.a      a  ■■■■■  ■■■■■  "jCaa 
■  ^0:::  ■■■  ■  ■■■  ::::  ■■■  mmm  m  mmm  ::::  u:; 

■■  ■  ■■■  m  ^  ■■■■■         i:aa  m  mmm  m  n  mm 

mmm  :]  ■■■■■         I'.w^  m  mmm  m  ■■■■■         [xx:  mmm 

■■■■■  h::  ■■■  az:      ::::  ■■■  m  w  mmm  L:r,      cx:  ■■■■ 

:]      ::::::  ■  '^ai:  •        ■■■■■  ■■■■■  ,u      aiy^  m  u  ■■■■■ 

□□■■■■a  aa'^  ■■■■■      ■■■■■  ^ul:      u  l:  cx::: 

□n'.  ::::  ■■■■■  ■■■■■  ;x:  ■■■■■na 

ana  mmm  m  a:  ,a  m  mmm  i:         mmm  m .  a  c.  m<  '■■■r'GO 

p  !  '      mmm  :xy.:      :-ipp  mmm  m      ii  p  aaa      r.::r,  ijucs 

l'l:    '  .■  Ixi::  mmm  m      -S'li      m\  mmm  nb:-:  '    ly^c  mmm>  iB"jLjbE3 

I  .  jC  ■■■  m         ::::::         ■  >■■■  u      c:  ■■■  ■  a  mi 
□LJ'JBBBBB  ox:  bbbbb  bbbbb  l:::      ::::::      l:::  bbbbbgq 

OOBBBBB  i:         l;:x:  bbbbb      bbbbb  ;x]::      □  □      o::;:  bbbbbo 

OBBBBB         :]r;:;  m  i:  bbbbb  bbbbb         nu^'  b  [Xx:  bbbbb 

■PBBB  :xo  .  .  o::  mmm  1:0      '^:a  mmm  m  mmm  iza  bbb  :x;      :x:  bbbm 

■B  IB  o  BBBBB         :xx:  b  ;BBa:  b  l::x:      a  bbbbb  u  B' ■■ 

MB  'J  :xx;  B  iBBB  m  i::y.i  ::  bbbbb  l:  "cl:  b  bbb  a  ::cx:  aa 
■■  :q::  bbb  ib  ibbb  ur,  mmm  ai:      u::  aaa  a-aaa  aa      :x:  a 

a  Baaaa  bbbbb     .    aaa  a  [x:^      a  aaaaa  bbbbb         aaa  i 

aaa  bbbbb      bbbbb  ,aaa      a  a      cxx:  bbbbb      bbbbb  aaa  a 
aa      aa  bbbbb         bbbbb  aa  aa  bbbbb         bbbbb  aa  .03 

a  m  mmm  a      a  mmm  m  a      aaa      a  m  mmm  a      a  mmm  m  a    1  jq 
aoaaa  jbbb  ib      a  a    ■  m  mmm  aaa      aaa  mmm  m      a  a      m  mmm. 
a  iaa  bbbbb    :  bbbbb  ::::      ::u  bbbbb  bbbbb  aau 

□  aaa  mmm  m    '  a  a      m  mmm  aaa      aaa  bbb'ib  b  bbb  aaaa 
aa  ,    am  mmm  a      a  mmm  m  a      aaa      a  m.  mmm  a      a  mmm  m  a 

aa  .    aa  ;bbbbb         .bbbbb  aa     aaa  ■  .  :x:  bbbbb         bbbbb  aa  na 
Qa..iu  aaa  .bbbbb    .  ;BBaBB  aaa    '  la'  a      aaa  bbbbb      bbbbb  :xx:'   ji  ]□ 
;a  BBBBB  BBBBB  a      aaa  m  aaz:      a  bbbbb  bbbbb  aan<3 
'    ;x]  'BBB  IB  <BBB  '.'x:      aa  BBB           aa  .bbb.  .b  'bbb  :x:  .  :x;ub 
ma      ixxj  B  IBBB  IB  :xx:      a  bbbbb  a    ~  ~  "  — 


BBHBJaEiL:  :}  bbbbb  a  azya  m  mmm' m  :xx:  a  bbbbb  :xx:  mmm 
■BBB  :::x:  :x:  bbb  aa  :x:  ibbb  ib'  bbb  aa  aa^mmm  aa  aa  bbbi 
□■■BBB  a  aaa  m  aaa  a  bbbbb  bbbbb  a  'aaa  m  :xx:  a  bbbbb 
□^■■BBB  aaa  a  a  aaa  bbbbb  bbbbb  aaa  a  a  aaa  bbbbbq 
□□□BBBBB  :x]      :xx;      aa  bbbbb  bbbbb  aa      aaa      aa  bbbbb  jg 

□□□JBBB  :B  a      zyaa      a  m  mmm  a      a  mmm  m  a      aazi      a  b'  bbb 
□□□□JB  1BBB  azya      aaa  mmm  m      :i  a      m  mmm  aaa      azya  mmm  m  .33 
□  □□□□JBBBBB  aa      aa  bbbbb  bbbbb  aa  bbbbb  □□ 

□□□□□B  IBBB  :x:::      aaa  mmm  m      a  a      m  mmm  aaa      aaa  mmm  m  jq 
□□□□■BB  IB  :}      aaa      a  m  mmm  z:      a  mmm-  m  a  .    azra      z:  m  mmm 
□□□BBBBB  aa      zyaa      :x:  bbbbb  bbbbb  aa      aaa      aa  bbbbb 

□UBBBBB  zyaa  crj:;  bbbbb    .  bbbbb  zzaa  c:x:  bbbbbq 

□BBBBB         .z:aa  m  azya      .a  bbbbb  bbbbb  a      zzaa  m  cxxi.  bbbbb 

SBBBB  ]:x;  .  :x:  bbb  aa  zya  mmm  m  mmm  zya  aa  mmm  cx:  '  zya  bbbi 
mmm  i:xx]  'Zj  .bbbbb  '  :x}:;  .a  laaa  ^a  zyaa  .  aaaaa  z:  .  :x::]  brb 
BBB  zrazi  m  mmm  m  azya  bbbbb  ;)  cxx:  a  aaa  la  l:cx:  bb 
BB  zy.i  zya  aaa  la  ibbb  :x:  :x:  bbb  ::::  ::::  bbb  ib  bbb  zya  azz  m 
m^iaazi  ::  aaaaa  bbbbb  zyaa  a  :::x:  a  bbbbb  aaaaa  □  zyaaa 
aa'  :::x:  aaaaa  bbbbb  az-,a  a  zz  azya  aaaaa  bbbbb  zyaa  la 
aa  zya  .bbbbb  aaaaa  zya  azza  zza  .aaaaa  aaaaa  aa 
aa      ;:  a  ibbb  aaa  a  :]      azya      a  a  aaa         ::  aaa'  ib  a  u 

a-\aaa  mmm  m      a  a      a  laaa  zyaa  1  .  azy^  mmm  m      a  a      a  aaa  aaa3 

injaQjBBBBB  .  ^^.^  ^aj         .BBBBB  jSO  ^.^  .BBBBB^.^...^.   ^  .BBBBB  .SO  ^ 

1  10 

Fig.  435. 
a,  ■,  Sinkers ;  a,  ■  Raisers. 

Fig- 435-  Repeat:  30  warp-threads,  30  picks.  Point  draw  requires  i6-harness.  Draw 
harness  i  up  to  and  including  i6  from  front  to  rear,  then  follow  by  drawing  harness  15  to  and 
including  2  from  rear  to  front. 


Derivative  Weaves  from  Satins. 


DOUBLE  SATINS. 

These  weaves  are  designed  for  woolen  goods  in  which  we  desire  to  increase  the  strength  and 
yet  retain  the  satin  face  and  finish.  They  are  derived  from  the  regular  satins  by  adding  one 
more  intersection  of  each  warp  and  filling  thread  in  one  repeat,  either  to  the  right  or  left,  above 
or  below,  or  in  a  short  regular  distance  from  the  original  point. 


Fig.  436. 
and  ■  for  Rai.sers. 


□□□□□■■GDnaoaMn 

hl:g  '■■  :i  m 
Du    mm        '  mm  :l: 

□  ■■  ■■ 

CJL;_'       ■■  .  .■■ 
■■  :  J    ,  1.1 

icaaaamm 
maBOC        ■■  _ 

mD'JDrrt_::m  ^  JB 
□c  "rm  .■■JJ 

Dmm  .  . .: 

□I'-..  ■  ^  ;■  ^_ 

□  'y^-im  J  J  Jo  .oMo.j.n 

Fig.  437. 
and  ■  for  Raisers. 


□□■□□■□□□□■□□■□G 

□□■  ^B'T  '"irm 

aa    m  m  ■ :  :;■ 

□■    ■  ■  ■  .  ]  J 

□■  ■    ■  ■□ 

□Ll    ■      .■         .  ■ 

met  m       m    m    .  3 
-    m        ■  1 


SGDl 

Dl. 
□L 
□■ 

D" 
C. 


■ 
■ 

■G 
■G 


Fig.  438. 
a  and  ■  for  Raisers. 


Fig.  436  illustrates  the  5-harness  (filling  face)  double  satin.  The  common  5-harness  satin 
we  find  clearly  indicated  by  .  One  point  added  (■)  to  the  right  has  given  the  double 
satin.  An  examination  of  the  same  will  show  us  a  proportionally  large  float  of  the  filling,  thus 
leaving  all  the  advantages  of  the  .satin  for  the  face  of  the  fabric.  The  warp  we  find  changed  in 
the  new  design  from  — 


^  to  - — J — i~2>      twice  as  many  intersections  in  the  short  repeat  of  5 
threads,  giving  the  fabric  for  which  this  weave  is  to  be  used  proportionally  more  strength. 

Fig.  437,  representing  the  8-harness  (filling  for  face)  double  satin,  is  designed  upon  the  same 
principle  as  that  of  Fig.  436 ;  having  a  larger  repeat  it  will  better  demonstrate  the  purpose  than 
the  former. 

Fig.  438  illustrates  the  double  satin  (filling  for  face)  produced  in  connection  with  the  8-harness 
satin,  filling  face.  This  time  the  adding  point  is  found  above  the  one  for  the  regular  satin,  so  the 
filling  receives  one  more  point  of  interlacing  in  each  repeat ;  hence  more  strength  in  the  fabric, 
filling  ways. 


■□■7 

□□■ 
□■: 


.-L 


m 


□□■□■□lj 

□■□□□□L  ■ 

□□□□■□ia. 
IBGQanCBuBQQaaGHD 

8 

•    .Fig.  439. 
■  and  ■  for  Raisers. 


'mm' ' 

■■■■  ■■  ■■■■  ■■□ 
■■■■  ■■■ 

■■   ■■■■  M 


I  .■■   ■■■■  ■■ 

mm  <mm  ■■■■  ■■  ■■ 
■■  ■■■■  ■■ 
■■■■  mm  ■■■■  mm  J 


Fig.  440. 

□  and  ■  for  Sinkers ;  ■  for  Raisers. 


Fig.  439  shows  another  and  a  different  arrangement  of  the  8-harness  double  .satin  (filling 
face),  having  its  added  point  in  an  oblique  position  to  the  original  intersection  of  the  regular  satin  ; 
consequently  increasing  the  point  of  interlacing  equally  for  warp  and  filling. 

Fig.  440  shows  the  regular  8-harness  satin  warp  for  face,  arranged  for  double  satin,  and  in 
its  construction  will  correspond  to  Fig.  438.  Both  of  the  last  mentioned  designs  also  demon- 
strate the  arrangement  of  the  8-leaf  satin  warp  for  face,  after  the  principle  observed  either  in 
Fig  437  oi'  439- 

(84) 


85 


Granite- Weaves. 

Under  this  system  of  weaves  we  classify  small  broken-up  effects,  which  are  derived  Irom  the 
foundation  weaves  in  various  ways. 

Amongst  the  effects  most  frequently  used,  we  find  those  that  are  derived  from  the  satin- 
weaves.    In  this  manner  Figs.  441  to  469  are  designed. 


■□□OHDH 
□■■□□CM 

■■□□□BD 

1  ? 

Fig.  441. 


Fig.  442. 


■  .  ■■ 

1  7 

Fig.  443. 


LJ-.B  ■ 


Fig.  444. 


Figs.  441  to  443  are  granite-weaves  derived  from  the  7-harness  satin.  The  latter  is  shown 
in  each  design  by  ». 

Designs  Figs.  444  to  447  are  derived  from  the  8-harness  satin.  The  first  two  weaves  are 
obtained  by  adding  three  additional  points  of  interlacing  to  each  original  satin  spot  (m). 


1  8 

Fig.  445. 


1  8 

Fig.  446. 


■■■□■□■a 

1  8 

Fig.  447 


The  last  two  weaves  are  obtained  by  adding  four  additional  points  of  interlacing  to  the 
original  one.    The  original  8-harness  satin  is  shown  in  each  design  by  a. 

Weaves  Figs.  448,  449  and  450  are  designs  of  granites  having  for  their  foundation  the  12 
harness  satin.  The  latter  is  again  indicated  by  a  different  type  (■)  from  that  of  its  addition  foi 
producing  the  granite-weave  required. 


•■□□■■□□□I 

1 

Fig.  448. 


H'J 
CD 
![]□ 


■  ■■□■■□□■■■C 

1 

Fig.  449. 


■■J  ■  ■  ■! 

1 

Fig.  450. 


Weaves  Figs.  45  i  and  452  are  derived  from  the  15-harness  satin,  which  is  similar  to  the 
preceding  ones  indicated  by  ». 

Weaves  Figs.  453,  454  and  455  are  granites,  constructed  in  their  foundation  out  of  the  com- 
mon 1 8-harness  satin-weave. 


"^■□■□□■■■□□■■□u 
'I'TMBP-  'n«^i* 
■□l::  ■      ■  ■  ■■ 
mc    m  m    mmm  i 
mem    mmm    '  ■ 

■  ■  a  J 
□ct-w  ■  ■  ■■■ 
□□r  ■  ■  ■■■  ■ 
■■■  '  ■  ■ 
.  ■  ■  ■  J 
'jmm.  m  m  mmmz 
:3om"m    mmm  m: 


1  15 

Fig.  451. 


■  ■■■ 


1 

Fig.  452. 


i8nn 

■r^mmm 

■■■a 

mmm 

■  ■■ 

■ 

■  J 

■■ 

mm 

■  ■■ 

■ 

■■ 

■  ■■  : 

■ 

■■ 

■  ■■  ■ 

■■ 

mmm 

■  ■  ■ 

■■ 

mmm 

■  ■■ 

■■ 

■ 

mm 

■  ■■ 

■■ 

■ 

m 

■  ■  ■■ 

■■ 

■ 

m 

■  ■  ■■ 

■ 

:■ 

■ 

mm 

■  ■  ■■ 

■ 

r  ■ 

mm 

■  ■■  ■ 

■ 

mm 

■  ■■ 

■■■ 

mm 

■  ■■ 

■ 

■  ■ 

mm 

■  ■■■ 

■  ■ 

■■ 

m  m 

■  ■■■ 

m 

.  ■■■  ■■ 

mm 

'^mmm^Qu^ 

■■ 

■  ij 

Fig.  453. 


Fig.  453  is  produced  by  adding  eight  additional  points  of  interlacing  to  the  original  spot. 
Figs.  454  and  455  are  obtained  by  adding  (regular)  seven  additional  points  of  interlacing  to 
the  original  spot  (indicated  by  h). 

Another  method  for  producing  granite-weaves  is  that  of  using  the  common  satin- weaves  for 


86 


the  foundation,  but  so  arranging  the  latter  in  their  construction  as  to  have  every  even-numbered 
waip-thread  in  the  main  design  (motive)  missed,  or  not  taken  into  consideration  at  all.  Thus  the 
5-harness  satin  will  call  for  10  warp-threads;  "the  7-harness  to  be  arranged,  in  the  manner  above 


laqmHBaOTBnDDni 

nriBBB«nni"n««rir 


OB 


■■  .□□ 
■  i;nn 
■■□ 
■■■■ 

'■t'ma 


Fig.  454. 


■n~iHanrinaB 

MD  ■ 
■■   ^  BOB 

6  BBS 
~BBB  ■ 
Z:  .  BBB  BBB 

B  Ba 

mcrmn;  n 

BB'  'BB 

B  m 

mmm  i 
mmm  ) 
a 

a  aaa 

m  mmm 

a  BB 

'L   m  BEB 
■Bfl  B 
_iBBB  BBB 
B  BBB 

BBB  L  < 

LjB  1'  BBB'  '  m 
BB  >'     1  B 

BBB 
BBB 

a  1 

HBB  ] 

a  aaa 

BB  .   i  !  i  3 
BBB  ■ 

BBP  BBB 

IB        B  BBB 

a 

BBB  .  : 

Fig.  455. 


described,  for  14-harness,  etc.,  etc.  To  give  a  clearer  understanding  of  the  method  of  procedure, 
Figs.  456  to  465  have  been  designed. 

Fig.  456  represents  the  common  5-harness  satin  designed  on  every  imeven-n umbered  (1,3, 
5,  7,  9)  warp-thread. 

naaaaaciBBiD  □■■□nnanna  Dnanannnaa 

CB^-][  <<  IB'  BBG  ~  iBnaa  r  m  a[~:Bai\!['iaHGG 

[  BB    ai  <  ■•:m  m      m  •  m  :m  m-^  •  '  /  'bb  jj 

n    a  BB  I laa  BB      a  J  aa    ati...  ij 

SDDDDBnaDOD  ''B    B      B  ~H  .m    m  aan  •'■L:     aa  .  bh 

□□□□□□□□■a  :  a  aa    bhd  lbb      b  - ci  a  '  aa 

□□■□noDona  1  a  i    a  bbg  ■    »  aa    j  c  bb    b'  j 

□□□□□□■□□a  I  aa    Bi '    ■  ■      a  ^  a  a  m  <.       mm  i 

maaaaziaaoQ  n  1 1.  .a  aa  wa  aa      a  j  >bb    a; :  . ,  _  j 

1  10  1  10  1  II)  I  10 

Fig.  456.  Fig.  457.  Fig.  458.  Fig.  459. 


Figs.  457,  458  and  459  illustrate  granite-weaves  obtained  from  the  latter  foundation  weave 
by  means  of  adding  four  additional  points  of  interlacing  (selected  differently  in  each  design)  to 
the  original  spot  of  the  5-harness  satin. 

Granite-weaves  Figs.  460,  461  and  462  are  obtained,  by  means  similar  to  the  preceding 
cases,  from  the  7-harness  satin.    Their  repeat  is:  14  harness  and  7  picks. 

7nDBGna«aoaBana  '□□■■nnmanBaaaa  ;rariaaGiinarnana 

n' 'Ba^^B'TBGni  ir  IB  naG' ibb' MaaG'T.hia  ■'    a ~'  ariaai  ;nG 

a      '  'B' '  BB'  a  ■■  .-  '  'B  a  '  iBB    1  1  aa  '  '  a    'B'  '  '■ 

aa  a    a      '  -a    :  DLiaa    aa    '  'a  a  i  a      a  bb'  'i  i  b'J 

L'  .  a    .aa  a    a  j  OGi  mm    mm    mm  b_  .a    B'  i  a 

gb a JG  .na    aa  hbl.' .,aa_j  Ma._.a._jj  li  GaoaaGH'^a' igm 

iHaaaaauaGuaaGL)  inaaGuaaouaaGa  iHGauaamGauaaa 

1  14  1  14  1  14 

Fig.  460.  Fig.  461.  Fig.  462. 


Designs  Figs.  463,  464  and  465  are  designed  out  of  the  8-harness  satin,  and  their  repeat  is 
16  warp-threads  and  8  picks.  In  designs  Figs.  457  to  465  the  original  weave  for  the  foundation 
(or  the  5-,  7-  or  8-harness  .satin)  is  shown  by  h. 

In  the  same  manner  that  we  construct  granite-weaves  out  of  the  5-,  7-  and  8-harness 
satin,  we  can  also  construct  granite-weaves  out  of  satin-weaves  having  a  higher  number  of 
harness  for  their  repeat. 


faB''^anBB^Bnf9nnana  eDBDaBB^annMnaDGB  "nrBnBannnr'fiBDBna 

a  a  n-':  'B'aaa  ~'a  m  nm^'-'  i  a  '  ia'~'B  ^aaa  gb-b  '    .  a  aa 

a  aaa  a  bb  a     ^  bggb  a  aaa  a    :  r  i  '  a        a'  aa    g  gb 

a  aa  a  ^  I    m  mmm  gbbb  a  .      a  >  'B  a  a  aa        i  a  a  r  '  I'J 

a    I    a  aaa  a  bbj  con  b    a  aGiBaa  b  .  la  a    G.i_.a.  .aa  iG 

I  aaa  a  Ba<jBGn'.j.jB  Gana  aaa  a     -''B'I  '. '.ji^auBBGGi-LjGBi  jb 

BB   a     i  jGaaBBBGB  BBGB           B      BBB  BBGGCGBBGBGGGUBa 

<:  I    a  .BBaaBGBBaBq  'Bcb    a  a  aaa  a   i  iMBOBaaDaBDBBDDDa 

I                                    16  1                                    10  1  16 

Fig.  463.  Fig.  464.  Fig.  465. 


By  using  in  this  manner  the  9-harness  satin  we  will  get  1 8-harness  for  the  granite-weave 
and  if  we  use  the  lo-harness  satin-weave  we  will  get  20-harness  .'or  repeat  of  its  corresponding 
granite-weave,  thus  always  requiring  twice  as  many  harnesses  in  repeat  for  the  granite-weave  as 
for  the  foundation  satin-weave. 


87 


The  next  step  in  designing  granite-weaves  is  the  use  of  any  satin-weave  for  foundation  on  each 
third  successive  warp-thread,  which  will  equal:  "Take  one  warp-thread,  miss  two,"  in  the  founda- 
tion satin- weave  for  the  new  design. 

To  give  a  more  perfect  illustration  of  this  method  of  procedure  Figs.  466  and  467  have  been 
constructed. 

Fig.  466  illustrates  the  5-harness  satin-weave  to  be  applied  for  the  foundation  of  a  granite  under 
the  previously  explained  principle  of  "take  one,  miss  two,"  thus  calling  for  warp-threads  i,  4,  7, 
10,  13  in  constructing  the  satin  for  foundation. 

□■■■□■■rxj'"iBBBnnaBBBn«»G!"riBB«Da 
■  -  ::  'BBB'  BBB'^BB'  I  :  mmm<  i  ■ 
B      aaB  aa  .    aaa  ■ mmm  mm  i  mm 

a   BB        BBB        BBB   BB        BBB  BB 

SDDaDananaBDDaDa  »!-  aaa  '  ^  aa  .  aa      aaa      aaa  bb  j 

L  aa  I  aa      aaa      aaa  aa  <    aaa  ] 

□□□□□□□□□□□□■□a  a  i    BBB      aa  i  mm      mmm  "    aaa  a 

□□□□□□■□□□□□□□a  a      BB.  .  aa      aaa      aaa  aa  aa 

iBDaammQanaaag  iB^BBu^^BaB.__  ...aaa  .aBju^aBaj^..,Bg 

Fig.  466.  Fig.  467. 

Weave  Fig.  467  represents  a  granite-weave  as  derivea  from  the  foundation,  Fig.  466.  The 
original  satin  spots  are  shown  in  both  designs  by  the  same  character  of  type,  thus  giving  a  clearer 
and  more  perfect  illustration  of  the  method  of  procedure.  Any  granite-weave,  con.structed  in 
accordance  with  the  present  example  out  of  a  satin-weave,  will  always  require  three  times  the 
number  of  harness  for  its  repeat  that  the  satin  calls  for.  Thus,  the  5-harness  satin  requires 
1 5-harness  in  granite-weave;  the  7-harness  satin  requires  21 -harness  in  granite-weave;  the 
8-harness  satin  requires  24-harness  in  granite-weave,  etc.,  etc. 

This  will  readily  explain  that  when  using  a  high  number  of  repeat  in  satin  for  foundation,  a 
corresponding  increase  in  the  granite-weave  will  occur.  For  example,  take  the  12-harness  satin 
which  equals  36-harness  in  granite,  a  repeat  too  large  for  the  number  of  harness  operated  in  the 
loom.  To  prevent  difficulties  arising  in  this  manner,  we  can  readily  substitute  the  missings  of 
certain  warp-threads  for  the  filling,  using  warp-ways  each  thread  in  rotation  as  in  the  case  of  the 
example  in  the  filling. 

The  peculiar  characteristics  of  the  face  of  a  fabric  interlaced  on  a  granite-weave,  "  small 
broken-up  effects,"  will  readily  admit  this  change.  The  present  rule,  "take  one,  skip  two,"  in 
producing  the  foundation  satin  can  also  be  extended  to  "take  one,  skip  three,"  or  "take  one, 
skip  four." 

EOBBDBnaanDnaanBnaaaDn 
□GnBar~:a<~,aa' / mm^  m  '  mm 
□■a  aa  a  aa  '  '  BB  a 
■GB  aa  aa  a  BB  a 
□rjBB  B  aa      aa  a  bbj 


KoaDDDGGnDn  Kiaa 

□□□□□oanm  dl 

□□□□□□□□□□  DB 

□□■□CDDann  mc. 

□□□□□□□□□□  a 


       ^ 

□□□□□□□□□a  DB  aa      aa  a  aa  an 

aaa      aa      aa  a  aa  ,j 

□□□□□□□□□□  ■  ■ao...BB  .a'}aa..  j^jB*  bjm 

IBLjaBUGGBBljBGBBuUuBBa 

1  10  .  II)  20 

Fig.  468.  Fig.  469. 

Another  method  of  designing  granite-weaves  having  a  satin-weave  for  foundation,  is  that  of 
using  the  latter  in  the  former,  as  follows:  "Take  one  thread,  miss  one"  (or  two,  or  three,  etc.)  in 
the  direction  of  the  warp  and  the  filling,  thus  increasing  correspondingly  the  repeat  of  the  warp- 
threads  and  picks.    To  illustrate  the  present  method  Figs.  468  and  469  have  been  designed. 

Weave  Fig.  468  illustrates  the  5-harness  satin  arranged  in  its  repeat  upon  every  alternate 
warp-thread  and  pick.    Repeat:  10  threads  each  system. 

Weave  Fig.  469  illustrates  the  arrangement  of  above-mentioned  satin-weave  changed  to  a 
granite-weave. 


88 


The  character  of  type  used  in  weave  Fig.  469,  for  indicating  one  repeat  of  the  satin-weave,  is 
shown  to  correspond  with  that  used  in  Fig.  468. 

It  will  be  seen  readily  that  it  is  possible  to  construct  an  endless  variety  of  granite-weaves  in 
this  manner,  therefore  we  only  give  these  few  examples  to  indicate  the  elementary  principles  of 
their  construction. 


c 

■ 

■ 

mm 

■ 

■ 

■ 

m 

□ 

■■ 

1 

■■ 

□ 

■■ 

■ 

■ 

■ 

■ 

■ 

■ 

■ 

m 

1 

■ 

D 

■■  J 

■ 

■ 

■ 

■ 

■■ 

am 

mm 

■ 

■ 

::a 

■ 

■ 

■ 

■ 

■  , 

M 

■■j 

Other  Methods  of  Constructing  Granite-Weaves. 

Granite-weaves  may  be  produced  also  by  various  other  methods.  Among  those  most 
advantageously  used  are  those  produced  by  using  a  suitable  effect  arranged  in  the  shape  of  a 
broken  twill. 

For  example,  we  have  designed  weave  Fig.  470,  which  will  readily  explain  the  method  of 
procedure,  as  well  as  indicate  how  to  proceed  in  constructing  similar  effects.  A  further  method 
of  designing  granite-weaves  is  the  using  of  a  certain  number  of  warp-threads  and  picks  on  a  warp 
effect  and  exchanging  alternately  for  the  same  size  and  figure,  filling  effect. 


A  B 
sBHHGGnnanaacna 

■■■  -'mnOBBBDnGGG 

■■  ;nE    ■■  "  ncGG 

■      '^:r.:  m  ;;:;aG 
sua      D  ■ 
■■         .  ■■ 

.□□u-iQ  Mmm  ,_jL.G..BBa 

14  s 

C  D 

Fig.  470.  Fig.  471. 

For  example,  in  constructing  by  this  method  a  granite-weave  for  8  warp-threads  and  8  picks, 
divide  the  8  threads  each  system  contains,  thereby  getting  4  squares  of  4  by  4  threads  dimension. 
Next  put  the  effect  desired  into  one  of  the.se  squares.  Into  each  square  connecting  with  one 
side  insert  the  same  effect,  exchanging  from  the  breaking-off  line,  raisers  for  sinkers  and  Z'ice  versa. 

The  fourth  square,  left  unoccupied  thus  far,  will  readily  appear  as  the  connecting  link  for 
producing  the  entire  weave. 

Figs.  471,472  and  473  are  constructed  in  this  manner.  Fig.  471,  repeat:  8  warp-threads 
and  8  picks. 

Effect  A  for  the  first  square  of  4  x  4  threads,  is  shown  by  ■. 

B  represents  the  square  connecting  with  A  on  one  side,  situated  on  the  right  hand  side.  It 
contains  the  same  effect  shown  in  A  reversed,  raisers  exchanged  for  sinkers. 

C  represents  the  other  square  connecting  with  A.  It  also  contains  the  effect  shown  in  square 
A  reversed,  raisers  exchanged  for  sinkers. 

8BBBB     -      BBBB — ^'1  iiHn.-"n'"B     "Ca   n""B^G  [innGBGlB 

BBBB  BBBB  f  .  BBB  BBB  ^  □  BB^B 

BBB         BBB         .  a      mmm  ::      mmm  .  b  bb  03 

■B    a::    BB  a  c::    ■      ::::    a  :  aa  a  l:^g 

L         aa^         _aB  a    u:^  n  m         □  ''    a  B-^aa 

GG^acaaaGuLjQGaaa  1.  aaa  .   n  -Bbb      a  Ga._^_aauB 

□GGGaaaBoaaaaaaa  aaa  .a     .  aaa  a    .1  ayaaGCjqg 

imaDBaaBaDDaaaaB  iLj„a^a.,aa    a-ja  .,aa  iBBUBanag 

18  In  18 

Fig  472.  Fig.  473.  Fig.  474. 

Weave  in  squares  B  and  C  h  shown  by  a  so  as  to  distinguish  it  better  from  A  and  D;  also 
to  indicate  more  plainly  the  method  of  procedure  to  be  observed  in  the  construction  of  different 
weaves. 

Square  D  forms  the  corresponding  connection  in  the  design,  a  is  used  in  this  square  for 
warp  up,  similar  to  square  A. 

Weaves  Figs.  472  and  473  are  constructed  with  different  effects,  but  in  their  method  of 
construction  correspond  with  weave  Fig.  471.  Repeat  in  Figs.  472,  473  and  474:  8  harness 
and  8  picks. 


89 


Weave  Fig.  474  contains  the  same  method  of  construction  as  the  foregoing  three  examples, 
the  only  difference  being  that  the  shape  of  the  square  is  changed  this  time  to  a  rectangle 
produced  by  2  picks  and  4  warp-threads.    Repeat  of  weave  :  8  warp-threads  and  4  picks. 

Weave  Fig.  475  illustrates  a  granite-weave  similar  to  those  already       ^.□-.nr  ■■■  ■-nr-Br 
explained.    Repeat:  20  warp-threads  and  20  picks.    Four  changes  in  each 
system;  thus  4x4  =  16  squares  (each  separated  by  a  break)  in  complete 
weave. 

As  mentioned  at  the  beginning,  by  granite-weaves  we  mean  those 
weaves  which  form,  when  applied  for  interlacing  a  fabric  (worsted  or  woolen 
goods),  small  broken-up  effects  upon  its  face.  As  this  indicates  to  a  certain 
extent  a  regularly  distributed  arrangement  of  interlacing,  warp  and  filling, 
it  will  be  seen  readily  that  we  can  also  construct  and  classify  under  this 
system  of  granite-weaves,  designs  having  no  real  foundation  of  structure,  but  in  which  the  method 
of  interlacing  will  produce  the  small  broken-up  effect  upon  the  face  of  the  fabric. 

Weaves  Figs.  476  to  486  illustrate  a  few  specimen  designs  constructed  in  this  manner. 


1  ■■  ■ ' 

BH   ■   ■        ■  ■■■ 


■  ■■   B'j      ■   ■   ■■  ■ 

■   ■   ■■■   ■        ■■■  ■■ 
■■   ■   ■        ■   ■■■        ■  .  J 
■   ■■■   ■   ■      ■■  ■■■ 
I  ■■■        ■      ■■   ■   ■  ■ 

I  ■    mm  mmm      m  mmm  m 

u  mm    m  ■  mj, 

■  '  1.  ■■■....:■■(:.  ■  .■ 

■■■□■Gr<DBL«LjBBLjL.aaGa 

1 


Fig.  475. 


RejDeat : 


immamunmaaaaa 
□■■■□□■■■riCDB 
□Cii"  ]'';□';'■■:.!■■ 
□I  ■  ■■  ■■□ 
□  ■■■  ■  ■■ 
umm  mm  :  m 
J  ■■  ■■□ 
■■  ' .  ■ 

riBB   BB  BODQ 

BB  BB  a  ■  mna 

BiM  ;  :BB  ,  BBBO 

1DJC3J-B 


1 


12 


Fig,  476. 

f  12  warp-threads, 
I  12  picks. 


UDDBBBGrCIBBH 
■□□BBDB'  ^LBBO 
□BB:  <"<B'"BB' 
■■B  .  '   BBB'"'  a 
■B   B  .   BB   B  "a 

ucm  mm    m  mm 

□□□BBB   '  BBB 

■oriflB  B  mmu 

□BB'  I  a   BB  .  .B 

■■B.  I  ji  mmm..j  n 

^■■UBUUBBuBJa 

1  12 

Fig.  477. 


Repeat:    /  warp-threads, 
I  12  picks. 


12DDDnOBDBBBBB 
■□□GBBfT.  BBBQ 

■■□■BB''  )'■'  mna 
mmm'  mm    m  :  in 

■■L:l  B  BBB  □ 
■GCil  BBBBB.I! 


BBB'  mm 
mm    '  ■ 


Fig.  478. 


Repeat:    |  warp-threads, 
I  12  picks. 


Repeat : 


^■■□□■nnnB^n^ 

■■□□Cai  'I'JMBBD 
□□■□r  BBi  BBB 
□□□Bi  BBB  Bl 
■□□riBB   BBB   I 'J 

rmrt  mmm  mm  i 


Fig.  479. 

f  12  warp-threads, 
\  12  picks. 


Repeat : 


llBB'"B"',B^BnBa 

cm  m  mm  mom 

■'  B  B    B  BUB 

B.'B.BB   B  ■□ 

CB  Bi '  B  B  mm 

Om   BB   B   B  B 
BljB   B   B  BB 
■1  .BB'  .B  .B   B  . 
□B'.^LIBLjBB:  B 
□■■IJBUBDB^B 

1  11 

Fig.  480. 

f  1 1  warp-threads, 
I  1 1  picks. 


vmnaammmmam 
mm  jBbqbh 
■BirjBBoaoBa 

Br'.BBBBQClQB 
□DBBBBCJBBa 
□□□BBQBBBB 
□■■[XCBBBB 
■BBBG!~jrjBBa 
■BBB.  :BBGua 

m;  BB^BBBiaa 

1  10 

Fig.  481. 


Repeat : 


f  10  warp-threads, 
I  10  picks. 


■□''  '~':BB  BB  ' 
BDBB  '  BB  ■ 
□BB        BB  BI 


)L;DGBB-;BB^iI 


Fig.  482. 


Repeat:  /  8  warp-threads, 
^        18  picks. 


□■□□■■UB 
□■■■□CBQ 

□□■□BDBB 
BBQBBDCa 
IBBaaOBBD 

1  8 

Fig.  483. 


Repeat:  /  8  warp -threads, 
^        I  8  picks. 


□□■BDBDB 

iBaanflBaa 

1  8 

Fig.  484. 


Repeat:  /8  warp-threads, 
I  8  picks. 


□□■□■□BB 
□■□□BBDB 
□■■BGOOB 
■GGGBBBD 
■□■BGOBQ 
■BDBOBGG 
laaGBDBBB 
1  8 

Fig.  485. 


Reoeat  •  /  ^  warp-threads, 
Kepeat .    g  ^.^^^^ 


IB  BBB_jjJ 


Fig.  486. 


Repeat  :{^^^/P;^hreads, 


Combination  of  Different  Systems  of  Weaves  for  one  Design. 


As  indicated,  designs  or  weaves  classified  under  this  head  are  produced  by  combining  two, 
three  or  more  weaves  from  those  explained  in  any  of  the  preceding  systems,  or  divisions 
of  it;  also  any  new  weaves  similarly  constructed  by  any  of  the  rules  given  or  examples  illustrated. 
Thus  it  may  readily  be  seen  that  a  great  number  of  such  combined  weaves  can  be  constructed, 
but  practice  will  teach  us  to  be  careful  in  selecting  the  weaves  for  combination,  so  as  to  have  them 
harmonize  in  their  method  of  interlacing  and  to  secure  perfect  work  upon  the  loom,  as  well  as 
the  proper  finish  of  the  fabric  after  it  has  gone  through  the  finishing  process.  This  point  must 
especially  be  taken  into  consideration  in  the  manufacture  of  woolen  fabrics,  as  these  generally 
require  fulling;  therefore  places  more  irregularly  interlaced  in  one  part  of  the  design  than  in  other 
parts  will  have  a  tendency  4:o  shrink  irregularly  in  the  fulling  process.  In  the  manufacture  of 
fabrics  requiring  no  finishing  at  all,  or  requiring  but  very  little  (such  as  shearing,  calendering  or 
pressing,  etc.),  this  trouble  will  be  of  less  consequence  than  in  the  case  of  fabrics  requiring  a  finish. 

Therefore  the  rule  for  designing  weaves  for  worsted  and  woolen  fabrics  under  the  present 
system,  is  as  follows:  Only  combinations  of  weaves  are  allowed  in  which  the  fabric  shrinks  regu- 
larly at  the  loom  and  during  the  fulling  and  scouring  process. 

We  will  introduce  a  few  designs  containing  the  principles  of  the  various  combinations 
and  thus  explain  the  whole  system. 

For  example,  it  may  be  desire  to  produce  a  stripe  effect  upon  a  ground  interlaced  with 
the  plain  weave,  and  in  addition  the  stripe  be  required  to  stand  out  more  prominently  than  the 
ground.    In  this  manner  design  Fig.  487  is  constructed. 

1       II  Repeat:  12  warp-threads  and  4  picks. 

cncaaaGaMTsoaaaaHaBaBDH  ^  warp-threads  (i — 8)  marked  I  interlace  in  the  regular  plain  weave. 
■□■■*■■■■■■■■■■■■%■■■■■      4  warp-threads  (9 — 12)  marked  II  mteriace  m  the  regular  4-harness 

 1  twill. 

1  8  la   

Fig.  487.  .Li  J 

12  warp-threads  repeat. 

Suppose,  again,  we  would  use  in  our  present  example  one  kind  of  yarn  (same  size,  quality, 
color).  A  careful  examination  of  the  subject  by  the  novice  will  convince  him  that  the  8  warp- 
threads  working  with  the  plain  weave  must  intersect  twice  as  often  with  the  filling  as  the  4 

threads  working  with  the   twill.    Practice  will  readily  demonstrate  that  the  8  warp-threads 

interlacing  on  plain,  will  become  tighter  (take  up  more)  than  the  4  warp-threads  interiaced  in 
twill.  The  entire  warp  being  a  continuous  repetition  of  the  12  warp-threads  until  taken  up,  will 
thus  have  the  arrangement  of  8  warp-threads  interlaced  with  the  plain  weave  and  4  warp- 
threads  interlaced  with  the  ^  ^  twill  taken  alternately  and  repeated  over  its  entire  width.  This 

in  turn  will  produce  a  tighter  texture  in  the  plain  woven  part  as  compared  with  the  twill  part. 

A  perfect  fabric  requires  an  even  texture  all  over  its  surface,  which  is  not  guaranteed  in  the 
present  example  because  of  the  vast  difference  in  the  result  of  interlacing  of  the  plain  weave 
and  the  twill  weave  in  the  same  fabric. 

We  will  next  consider  methods  to  be  employed  for  producing  an  even  texture  (or  as  nearly 
even  as  possible).    Either  we  must  use  a  heavier  size  of  yarn  for  those  warp-threads  which  interlace 

on  the  ^  4-harness  twill  as  compared  with  the  warp-threads  woven  on  plain ;  or  we  must 

use  a  higher  texture  (more  ends  per  inch)  for  the  twill  part  than  for  the  part  interlacing 
with  the  plain  weave. 

If  we  should  select  the  first  mentioned  point  for  evening  the  texture  in  the  present  example, 
we  increase  the  bulk  of  the  fabric,  which  may  be  objectionable,  whereas  if  we  employ  the  second 
point  this  will  be  to  a  great  extent  avoided.    This  will  better  explain  itself  by  means  of  the 

(90) 


91 


following  rule  as  to  sizes  of  threads  compared  with  their  diameter :  "  the  weights  of  threads  do 
not  change  in  proportion  to  their  diameters,  but  vary  in  the  same  ratio  as  the  squares  of  their 
diameters."  This  will  readily  demonstrate  the  second  given  point  as  the  proj^er  one  to  be  used 
in  the  present  example  for  producing  the  required  even,  or  as  nearly  even  as  possible,  texture. 

In  weave  Fig.  488  we  illustrate  the  combination  of  9  warp-threads  interlaced  with  the 
5-harness  satin,  and  10  warp-threads  interlaced  on  a  fancy  twill;  both  weaves  combined  forming 
corresponding  stripes  in  the  fabric.  On  examination  the  amount  of  intersections  in  each  weave 
will  clearly  appear  to  the  student  to  be  even,  thus  no  great  trouble  can  result  in  combining 
these  two  weaves  into  one.  It  also  explains  the  method  of  procedure  in  combining  similar 
weaves  for  the  same  purpose. 

I  II  III  IV  v 

,   .  □□"■■■■"nBBB:-|BB-~-^B^-i'-B-,-BBrTB^B'-B-^nnBM 

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■■■□■■■■□■□□□■■□□□a 

9  10  1  r.  27        ii  as 

Fig.  488.  Fig,  489. 

Weave  Fig.  489  represents  a  perfect  combination  of  five  different  weaves  produced  with  a 

repeat  of  38  warp-threads  and  6  picks.  Warp-threads  i  to  6  are  interlaced  with  the  regular  j 

twill.    Direction  of  twill  from  the  left  to  the  right.    Warp-threads  7  to  12  are  interlaced  with  the 

common  6-harness  j  basket-weave.    Warp-threads  13  to  27  have  for  their  weave  the  skip 

twill  derived  from  the  regular  6-harness  ^  twill  by  means  of  "  take  three  threads  successively 

and  skip  two."    Warp-threads  28  to  31  are  interlaced  with  the  common  rib-weave  j  warp  for 

face.    Warp-threads  32  to  38  are  interlaced  with  the  filling  by  means  of  the  j  6-harness  twill. 

Direction  of  twill  from  the  right  to  the  left. 

Weave  Fig.  490  illustrates  another  perfect  combination  of  two  weaves  from  two  different 

divisions  of  weaves.    In  the  same  the  combination  of  the  regular  8-harness  twill  j,  used  for 

six  successive  warp-threads,  and  the  16  harness  corkscrew,  used  for  18  successive  warp-threads, 
is  shown. 

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iB^^L^Q  :,B-aaL^a^a;^aa:„a„a„B_Ba^a  iBB_:^aB— bBi  -.bb.  jJ 

1  f.  28  1  8  lli 

Fig.  490.  Fig.  491.  Fig.  492. 

Weave  Fig.  491  illustrates  the  same  corkscrew  as  used  in  weave  Fig.  490  combined  with  a 
rib-weave,  filling  for  face.  Warp-threads  i  to  5  are  required  by  the  rib-weave  and  warp-threads 
6  to  28  are  called  for  by  the  corkscrew.    Repeat:  28  warp-threads  and  8  picks. 

The  next  step  for  figuring  in  this  system  of  weaves  is  by  combining  two  weaves  in  the  shape 
of  alternate  squares  of  any  size  desired. 

In  the  construction  of  these  weaves  we  must  be  careful  in  the  selection  of  the  places  for 
joining  the  two  original  weaves  in  the  direction  of  the  warp  as  well  as  the  filling,  so  as  to  omit 
any  unnecessarily  long  floating  of  either  system  of  threads. 

Fig.  492  illustrates  the  combination  of 

8  threads  on  4-harness  basket-weave  and 
8  threads  on  the  ^ — 9-harness  twill. 

16  threads  repeat,  warp  and  filling  ways. 


92 


By  carefully  examining  the  combined  weave  we  will  find  the  twill  and  basket  so  selected 
as  to  form  a  clear  break  between. 


4  X  12. 

Basket. 

4  X  "2. 
Twill. 

4X4. 
Basket. 

4X4. 
Twill. 

4  X  '2 

Twill. 

4  X  12. 
Basket 

4X4. 
Twill'. 

4  /\  4. 
Basket. 

12  X  12. 

4-harness 
Basket. 

12  X  12. 

4-harness 
Twill. 

12X4. 
Basket. 

12X4. 
Twill. 

12  X  12. 

4-harness 
Twill. 

12  X  12. 

4-harness 
Basket. 

12X4. 
Twill. 

12X4. 
Basket. 

Fig.  494. 

In  weave  Fig.  493  we  illustrate  four  different  combinations  of  two  weaves  in  each 
direction  of  threads. 

The  arrangement  observed  is  clearly  indicated  in  diagram  Fig.  494. 


■■ 

■  n 


■■  ■■■ 
■■  ■■■ 
■■■  I 


■■ 

■■J 

I  □ 


Fig.  495. 


Fig.  496. 


Fig.  497. 


Another  method  of  figuring  in  the  present  system  of  weaves  is  the  checking  off  of  a  weave 
of  a  given  size  fmostly  square)  with  cnother  weave,  both  weaves  to  harmonize  in  their  methods 
of  interlacing. 


DC' 
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Fig.  498. 


Fig.  499. 


Figs.  495,  496,  497,  498  and  499  are  designed  to  illustrate  a  few  of  these  combinations. 

Weave  Fig.  495.  Repeat:  12  warp-threads  and  12  picks.  In  this  weave  8  threads,  warp  and 
filling,  interlaced  on  the  4- harness  basket- weave,  are  checked  off  by  the  C^iyS")  4-harness  granite- 
weave,  4  threads  for  each  system. 


93 


Fig.  496  represents  1 1  threads,  warp  and  filling,  interlaced  with  the   ^  4-harness  twill  and 

overchecked  with  a  common  rib-weave.  In  the  place  where  warp  and  filling  rib  meet  the  inter- 
lacing is  done  in  plain  weave.    Repeat:  15  warp-threads  and  15  picks. 

Fig.  497  represents  14  warp-threads  and  14  picks  interlaced  in  twill  and  overchecked  with 

2  threads  of  basket-weave.    Repeat:  16  warp-threads  and  16  picks. 

Fig.  498  represents  21  warp-threads  and  21  picks  interlaced  in  twill  and  overchecked  with 

3  threads  basket- weave.    Repeat:  24  warp-threads  and  24  picks. 

Fig.  499  illustrates  25  warp  threads  with  an  equal  number  of  picks,  interlaced  on  the  ?  ^ 

4-harness  twill  and  overchecked  with  7  warp-threads  and  7  picks  of  the  granite-weave.  Repeat: 
32  warp-threads  and  32  picks. 

Figured  Effects  upon  Fabrics  interlaced  with  Derivative-weaves  Produced  by  Arrange- 
ment of  Two  or  More  Colors  in  the  Warp  or  the  Filling, 
or  in  Both  at  the  Same  Time. 


Throughout  previous  lectures  explanatory  of  the  plain  weave,  the  twills,  the  rib-weaves,  the 
basket-weaves,  and  the  brokcn-twill-weaves,  the  importance  of  the  color  arrangement  in  connection 
with  the  method  of  interlacing  for  producing  the  effect  in  a  fabric,  has  been  frequently  dwelt  upon. 
In  the  manufacture  of  fabrics  known  as  fancy  cassimeres,  ladies'  dress  goods,  etc.,  these  are  of 
special  importance,  for  the  reason  that  these  fabrics  are  subject  to  constant  changes,  both  in 
design  and  effect,  by  the  demands  of  fashion.  A  great  variety  of  new  .styles  in  such  fabrics  might 
be  designed  alone  by  the  different  ways  of  interlacing  warp  and  filling,  yet  the  different  color 
arrangements  in  the  warp  and  filling  will  always  be  of  great  assistance  to  the  designer. 

Therefore,  before  proceeding  with  the  course  of  lectures  for  constructing  weaves  for  single- 
cloth  fabrics  of  a  special  construction,  and  double  cloth,  etc.,  we  will  take  up  the  subject  of  color 
effects  in  combination  with  plain  weaves,  fancy  twill-weaves,  granite-weaves,  etc.  Explanations 
accompanied  by  their  respective  illustrations  of  weaves,  with  resulting  effects,  will  readily 
1st  set.     2nd  set.        enable  the  student  to  comprehend  their  principle  of  construction. 

il  Design  Fig.  500  shows  at  A  16  warp-threads  arranged  in  two  sets. 

gM'  ■■B"B"B"'^B^a®a'^ffl^^    Each  set  is  mterlaced  with  the  filling  (same  for  both  sets)  on  the  plain 

□G;     ■  ■  ■   Bi*  a  s  a  ,1  . 

DC'      q  'q  r.  nS    weave,  and  the  connection  between  each  set  arranged  so  as  to  have  the 

last  warp-thread  of  the  one  set  working  the  same  as  the  first  warp-thread 
of  the  second  set.    B  shows  the  indications  for  the  dressing,  arranged  for 
JJj       one  thread  light  to  alternate  with  one  end  dark,  and  equal  at  'C,  indicated 


□l 
□r: 


I- 


"  "  "  for  the  filling. 

°'  (For  hair-line  and  tricot  effects  combined,  thread  and  thread,  con- 

structed on  the  regular  plain  weave,  and  repeated  without  interruption  or  change  over  the  entire 
width  of  the  fabric,  see  Fig.  20^  page  15.  For  producing  the  change  from  tricot  to  hair-line  and 
vice  versa,  the  arrangement  of  two  threads  of  one  color  is  used  in  one  place  in  the  design  which 
corresponds  with  the  place  in  the  fabric  where  the  change  from  tricot  to  hair-line  is  required.) 

In  the  present  example.  Fig.  500,  the  dressing  is  not  disturbed,  but  the  weave  is  arranged  so 
as  to  have  (as  already  mentioned)  the  first  and  last  warp-thread  of  each  set  work  equal. 

Warp-threads  l  to    8  =  ist  set,  shown  by  ■  type. 
Warp-threads  9  to  16  =  2nd  set,  shown  by  b  type. 
Warp-threads  8  and  9  are  connecting  threads,  interlacing  alike  into  the  filling. 
Warp-threads  16  and  l  are  the  second  set  of  connecting  threads,  interlacing  into  the  filling, 
and  arranged  to  raise  and  lower  on  the  pick  opposite  to  the  first  .set. 

It  will  readily  be  seen  that  the  changing  or  breaking  off  of  the  plain  weave,  by  arranging  two 
successive  warp-threads  to  interlace  in  the  same  manner,  will  reverse  the  tricot  effect  to  a  hair- 


94 


line  effect,  and  vice,  versa  (on  a  regular  arrangement  in  the  warp  of  one  end  light  to  alternate  with 
one  end  dark  over  the  entire  width  of  the  fabric).     See  Z?,  Fig.  500  for  effect. 

This  arrangement  of  working  two  successive  warp-threads  can  also  be  extended  to  the 
filling,  producing  some  of  the  most  novel  effects  for  ladies'  dress  goods  and  similar  light-weight 
fabrics. 

Such  effects  and  their  construction  are  illustrated  in  the  following  designs.  Figs.  501  to  509. 


■■ 

■ 

■ 

tj 

■■ 

■ 

■ 

■■ 

■I 

■ 

■ 

■■ 

■ 

□□□ 

■  ■ 

■ 

□■□ 

Fig.  501. 
Motive. 


I 

L,         ,      _  , 

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■■■■□□□□■B 
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1 


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Fig.  502. 
Ground-plan. 


Fig.  501  is  designed  to  illustrate  a  motive.  Suppose  the  ■  indications  in  the  same  to  repre- 
sent the  hair-line  effects  and  the  □  the  tricot  effects.  Again,  suppose  every  square  in  the  motive 
to  equal  four  threads  in. the  warp  and  filling  in  the  weave  and  effect. 

An  examination  of  Fig.  501  shows  six  squares  each  way  for  repeat,  therefore  6  X  4  -  24 
warp-threads  and  picks  for  the  repeat  of  the  required  weave  and  effect. 

Fig.  502  illustrates  the  ground-plan  and  represents  a  four-fold  enlargement  of  501. 

In  Fig.  502  those  parts  of  the  design  requiring  hair-line  effects  (according  to  the  motive)  are 
indicated  by  b  type  and  those  requiring  tricot  effects  by  □  type. 


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Fig.  503. 
Weave. 


Fig.  504. 
Effect  in  Fabric. 


Fig.  503  illustrates  at  A  the  dressing,  one  end  light  to  alternate  with  one  end  dark ;  B  the 
same  arrangement  for  the  filling,  and  at  C  the  applying  of  the  plain  weave  to  the  ground-plan  502, 
arranged  as  explained  before.  The  weave  for  the  part  of  the  fabric  requiring  the  hair-line  effect 
is  represented  by  s  and  the  weave  for  the  tricot  effect  by  ■. 

Diagram  Fig.  504  illustrates  the  effect  visible  in  the  fabric.  A,  arrangement  of 
warp,  one  end  light  to  alternate  with  one  end  dark;  B,  the  same  arrangement  for 
the  filling-;  C,  the  effect  produced.  ■■■"■■■■"S 

Fig.  505  is  a  motive  for  another  effect.    Use  8  warp-threads  and  the  same  aBnMUBoi 
number  of  picks  for  each  small  square  in  the  motive.    Type  ■  for  the  tricot  effect 
and  type  □  for  the  hair-line  effect. 


Lim  mm  m  mm 
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am  mm  m  mm 
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95 


Fig.  506.  A,  the  indications  for  the  dressing;  B,  the  same  for  the  filling;  C,  the  weave. 
Fig.  507  represents  the  effect  as  produced  in  the  fabric. 


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a  B  B  B.: 
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a  a  B  a    m         n-      q  ffl;-jB 

a  a  a  bkI]  h-  >s  a  >s  q  B'  ibh 
a  a  a  a    &  a  e  >5  eb  a  s-jb 

a  a  a  be  a  &  s  s  ec  >h  .an 
B  a  a  a    a  a  a  a  a  a  a' 

a  a  a  aa  a  a  a  a  a  a  sm 
B  a  a  a    a  a  a  a  a  a  ana 

a  ■  a  aa  a  a  a  a  a  a  'Bh 
a  a  a  a    a  a  a  a  a  a  a  ib 

a  a  a  aa  a  a  a  a  a  a  hb 
a  a  a  a     a  a  a  a  a  a  a  ib 

a  a  a  a  a  a      a  a  a  a  an 
a  a  B  B    a  a  a  a  a  a  a  la 

Fig.  506. 


H  B    =i  H  H  H 


B  H  u  H  [i  H  B 


c::; 


:::  w 


■  r"    ■'.   ;-,   .:.:;:.:;:::;c::";:;:;::c 


Fig.  507. 


Fig.  508,  motive. 

Fig.  509,  effect  obtained  by  using  6  warp-threads  and  6  picks  for  one  small  square  in 
motive.    Repeat:  36  warp-threads,  and  the  same  number  of  picks. 


liiDBnBnBDBCiBQB^BnB 
BDBBB~B"E   B   B  'Ha 

B  ffl  ffl  H  " 
BWB^a!-- 


Fig.  508. 


B  ffl 

:..ffl  a  a  a 
sr.m  a  a  a 
Lffl..,B  a  a 

IBJB^B^B^B^B^BjBd 
1  16 

Fig.  510. 

16  harness  and  16  picks  for  repeat. 


>^    ^=  ■  '-     '•'  '■'  -  V  i" 

V   y   ■;  V  :*   •■  V  V  V 

:•  x  y  v  y  v  ... 

>.  :-.  /.  /.  y.  y.  y  y  y  y  =■  v 


m 


s  i  y 


■■'    ;=:  y  y  y 

V  M  n  * 

>:  :<  =:  y  y.  y 

i        ;  ;    ;  y 

K  y  y  y,:y  y 

^  :  :  :  ^ 


Fig.  509. 


Fig.  511. 


Novel  effects  are  also  obtained  by  figuring  upon  the  plain  weave.  For  example,  weave  Fig. 
510  produces  effect  Fig.  511,  by  means  of  i  end  light  or  color  No.  i,  to  alternate  with  i  end 
dark,  or  color  No.  2. 


96 


Effect  Fig.  5  1 3  is  produced  upon  a  fabric  interlaced  with  weave  Fig.  5 1 2.  Arrangement  for 
warp  and  filling :  i  end  light,  or  color  No.  I,  to  alternate  with  l  end  dark,  or  color  No.  2. 


Fig.  513. 


The  same  arrangement  of  using  alternately  light  and  dark  threads  will  produce  on  a  fabric 
interlaced  by  weave  514  the  effect  shown  in  Fig.  515- 


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1                                                                   21  I  --'4 

Fig.  515.  Fig.  514. 

The  effect  illustrated  in  Fig.  516  is  produced  upon  a  fabric  which  has  the  warp  and  filling 
(arranged  I  end  light,  or  color  No.  i,  to  alternate  with  I  end  dark,  or  color  No.  2)  interlaced 
with  the  broken  twill  weave  Fig.  517. 


97 


The  same  arrangement  of  colors  in  warp  and  filling  (i  light,  i  dark)  used  upon  weave 
Fig.  518  (broken  twill)  will  produce  design  Fig.  519  for  effect  in  the  fabric. 


Fig.  516. 


imomammauB'jBD 

□■□■■□□□□HQH 

■□■■□■□nn.  □□ 

■  n  'a"na 
mm:  m  m  n  or.ij 
mam  u  a  a3 
chTjO:      ■  ■  jB 


rr 


Fig.  517. 


■□■□■□□■□□□□□aoa 

crm  m~m  'a  a  ajB 
■'2  ■  ■  ■  i:  t:  aa 
am  mm  ::  aja 
mzm  M 

-m  m  i:  a  l 
□H    □  □    ■  ■    ■  ' 

□  a  a  as  ■  ■  ■ 
ora  a  a  .  ■  ■  ■ 
□a  a  a        ■  ■  bj 

□  a  a  aB  .b  bjb 
□a  a  a  ib  b  mo 
EL.a_  a  aB  B  bjb 
iDau^.a-,a  ._B.^B_jBa 


Fi 


Repeat : 


518. 

16-harness, 
16  picks. 


Fig.  520  illustrates  the  fancy  color  arrangement  applied  to  a  fancy  twill. 
A,  the  weave,  8  harness  and  8  picks  repeat. 


BBB>5I^5<fr- 
E' 

HBB(!lB'ifflfflBfflB='1B^ 

BfflBfflffl-lfflSl 

-    J  ■  •B^:aN 
W5   5  BjS 

B-;-;- ' " ' ' 

>;•  ■:•  @m 
>:<  •:•  V  'B^ 

Br=i<  '"''i 

.J  r:<  ■>  as 

glSv"    •!    •;•  -I"!? 

-:"i<-L'  i-  3*1 

1-  5    i          .  . 

>:":••:■•:<■:-  .bm 

B  '1  "i,  '''M'  ' 

-i^i-^.i'v-i'a.Ji 
-:■  « 

-J.I-v-I'ijB 

B         '  "  '  i' 

6BS>:":"i<  -1- 

m  •:• 

1" "  r  r ." ' .  * '  ■?  ';■  ■? 

>j  BH 

•:•  as 

■?  n 

■:■  a* 
■:-  a* 

as( 

.  . ,  , ,  ^/sa 

ffl  vi, 

ij  :..  i  .  .  ^i  .5:^     .  .  J  -iB  ..t^!  

B 

I — ^□□DDDmaoanonDcaoa 


7? 


■□■■□□□■□□□□□□□□□□□□□□□a 

□'iBB'^BBB^^^'^nnnn^T-i^TTT-^G 

■B        BB  DG 

■B    BB        aa    aa    aa  <33 

'I    mm  mm    ::::    aa    aa  aa 

HBBB      BB  .  1 

BB  BB 


ia 
aaa 
aa 
aa 
aa 
a  a 
a  a 


c 


Fig.  519. 


la 
..•aa 
aa 
aa 
aa 

 aa 

jMHaauriaaSuaaiiaaa 


.  BB 

Bl 

B 

■rnpppggopT 

PPPPPPQD 

[~      a  B 

■  B 

B__ 

.:P 

B  BB 

BB 

[  BBBB 

aa 

:  13 

BBBB  B 

BBB  BB 

■B  Bl 

B 

B  :  ^BB 

BB 

' 'a 

a  a 

:c:aaa 

ClCiZi. 

: 

□□□  ■ 

;  M 

ana 

:  -ra 

:  :3 

aac^  aa 

a:: 

::;aaa 

aca ' 

'3 

□□□[_ 

a 

□□□l  aa  a 

:  3 

□□□r  a 

;  ^ 

□□□l.  '  a 

:  4 

;  « 

□□□naa^ 

aaaaaatnrftjaaa 

aaa: 

Fig.  520. 


B,  the  arrangement  of  the  warp,  2  threads  light  to  alternate  with  2  threads 

C,  the  arrangement  of  the  filling,  the  same  as  the  warp. 

D,  the  effect  produced. 

B 


Fig.  521. 
dark. 


A 

PPB  :bp 

a 

■ : 

'  mm' 

BB 

Ba::B 

Pi 

B~BB  : 

■B 

B 

B 

■c 

~B  B 

a 

CB 

B  mm 

PP 

■BB  B 

■P 

:  B  B 

a 

PP 

B  B 

a 

PI 

BB  BB 

■B 

_BB  B 

BPnGDDDDPP': 

T;PPPPPPPP  " 

jPPPPPPPL 

B^^PPPPP"". 


^PPPGP^PP 

t'ppppgpp 
:pdppppg 
'pnp'^ppp 


GPBBPPB 

■ 

pppppgp'  ^p" 

'  '1 

L  IB 

■i~a 

B  B 

aa 

a 

Amm  mm 

-^p-.aa  a 

GPBB  B 

a 
a 

■B' 

a  a 

■BP 

BB 

□PP 

4 

OGP 

□PC 

□□r 

□Pi 

DP' 
□□ 

r>pn 

a  % 

a:-?! 

::  a 

*^GL 

□LI 
□□ 

i 
J 

□P. 

□BdQQPupaaaaBBaaa! 

jaaaiaa 

;pp 
■:jpp 
ppp 

--11 


•>pp 
^□□. 

□Pi 

□p 

□P. 

□p: 
□□_ 
□PP 

□  PLi 
□PP 

□PPL 
□DDL 


baaa 

laaaappt: 


i^aaaaaaBaaiBabaaaaaabaiaa 


Fig.  522. 


Fig.  523. 


Figs.  521,  522  and  523  illustrate  three  specimens  of  effect  produced  upon  fabrics  interlaced 
on  granite-weaves.  In  each  figure  A  represents  the  weave,  B  the  dressing,  C  the  arrange- 
ment of  the  filling,  and  D  the  effect  produced. 


Single-Cloth  Weaves  for  Fabrics  of  a  Special  Construction 

and  Peculiar  Character. 


HONEYCOMB-WEAVES. 


The  Principle  of  Constructing  Honeycomb-Weaves  and  the  Peculiarities  of  Fabrics 

Interlaced  with  them. 

In  these  weaves  squares  are  to  be  formed  by  floating  (more  or  less)  part  of  the  warp  and 
filling  threads.  These  warp  and  filling  threads  will  float  on  the  face  opposite  to  the  back  of  the 
fabric;  also  on  the  place  where  the  longest  floating  warp  and  filling  thread  interweaves,  will  be 
formed  a  groove  on  the  back  of  the  fabric  and  vice  veisa  on  the  face.  Hence  we  get  the  peculiar 
appearance  of  the  fabric  known  as  honeycomb.  The  difficulty  for  the  designer  consists  in  so 
arranging  the  weave  that  when  the  warp  floats  on  the  face,  the  centre  point  of  this  float  will  form 
the  centre  point  for  the  filling  float  on  the  opposite  side  of  the  fabric.  And  again,  when  the 
centre  point  of  the  filling  float  is  taken  into  consideration  on  the  face  of  the  fabric  and  we  put  a 
needle  straight  through  the  fabric  on  the  designated  spot,  the  point  of  the  needle  will  meet  the 
centre  of  the  warp  float  on  the  rear  side  of  the  fabric. 

Different  methods  are  observed  in  designing  these  weaves. 

Honeycomb-Weaves  Designed  on  Point  Draws. 

■  and  a  Raisers;  n  Sinkers. 
Fig.  524  shows  the  plainest  honeycomb-weave,  executed  on  8  warp-threads  and  8  picks 
repeat,  with  the  "point  draw"  for  5-harness  below  it. 

■■■■■■■ 
□  1  ■■■■■  'C  ■■■■■J 
I      ■■■  ■■■ 

_  l:"b":;  3 
ge:  ■■■  ■■■ 
□□■■■■a  a 

■■■■■■■ 

c  ■■■■■3 
[JG  ■■■         ■■■  □ 


sBc    ■  ■     '  Point  Draw 

□C:  r  -  -  - 

□I — 


□ 

□□□ 
□ 


for 

iScchddaciStiahHDu  S'^'^'^^^ss.  5 

Fig.  524.  Fig.  525.  Fig.  526. 

Fig.  525  illustrates  the  floating  of  the  warp  in  above  design,  thread  A  A  forming  the  centre 
of  the  float,  which  gradually  decreases  in  the  adjoining  warp-threads. 

Fig.  526  illustrates  the  floating  of  the  filling  in  design  Fig.  524,  pick  B  B  forming  the  main 
float,  which  decreases  in  the  adjoining  picks. 

By  these  designs  it  appears  that  the  warp  float  is  two  threads  longer  (7  picks)  than  the  filling 
float  (5  ends). 

Fig.  527  illustrates  the  honeycomb-weave,  designed  for  10  threads  in  each  system.  The  main 
float  in  the  warp  covers  9  picks,  and  the  filling  float  forms  the  square  in  the  fabric  with  a  pick 
floating  over  7  ends. 

The  point  draw  for  this  weave  requires  6-harness. 

(98) 


99 


Fig.  528  shows  the  honeycomb-weave,  designed  for  12  threads,  warp  and  filling  ways.  The 
heaviest  float  in  the  warp  covers  1 1  picks,  and  the  greatest  filling  float  covers  9  warp-threads. 
The  point  draw  for  this  weave  requires  7-harness. 


□□rc 

□□H._i 


c:  a  mmm  c:  mum  c:i  

ca             o  ■■■■■je3  b^mi 

□                       0:  □□LI 

■■■■■■■■■  DCS 

a  ■■■■■■■ 

cs  ■■■■■  ■■■■■  □  nc' 

c;  n  ■■■  K  l:  ■■■  ,„:^c; 


1  c:  ■■ 

■■■■■■ 

1  a  mm 

■■■■■■ 

ci  a  mmm             ■■■  laa  r  □  ■■■■■■■  ■■■■■■■  □ 

■■■■■  0:      ■■■■■JQ  G  ■■■■■■■■■  a  ■■■■■■■■■  ] 

e:  ■■■■■■■  r  ■■■■■■■■■■■ 

□■■■■■■■■a  ■■■■■■■■■  a  ■■■■■■■■■  ■■■■■■■■■ j 

lc]  ■■■■■■■  ■■■■■■■  a 

Da  ■■■■■      a  u^r.  ■■■■■  c .  ■■■■■  [:  j 

or  a  mmm         c  ■■■  aa  a  mmm  ■■■  a  i 

Fig.  527.  Fig.  528. 

Fig.  529  is  the  honeycomb-weave  designed  for  14  ends  in  warp  and  filling,  with  a  main  float 
in  the  filling  covering  1 1  warp-threads. 

Point  draw  for  this  weave  requires  8-harness. 

Fig.  530  illustrates  the  honeycomb-weave  for  16  ends,  repeat  in  warp  and  filling,  being  about 
the  largest  arrangement  of  this  weave  used  on  a  high  texture. 


nr^^  s  m  a  -^H'^b^'g  ^  ■ 

□c-  ^^:z  mmm  mmm  ) 

□□□'^■■■■■■■"e;  i 
□GL  ■■■■■■■■■      a  ■■■■■■■■■  a 

^□■■■■■■■■■■B   :3   ■■■■■■■■■■■  ! 

■■■■■■■■■■■■■ 

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□□^■■■■■■■■B  a      ■■■■■■■■■■  □ 

□DQ  ■■■■■■■  a  ■■5J5JB 

DC     a  mmm  □  ■■■  o:  rj 

DC\     G  ■  □  r.  m  a  3 

ccc      a  G  t 

140D      G  ■  G  ■  G  1 

□□r     G   ■■■   G  G   ■■■  G 

□CCH   ■■■■■   G^_        ,,G   ■■■■■  G^_ 

□□^■■■■■■■■■"g  G"BBaBBBaBB"G 
G   ■■■BiaBBBaii  J 
DBBBBBBBBBBBBB  BBBBBBBBBBBBB 
□rBBBBBBBBBBB   G  BBBBBBBBBaBl 

bbbbbbbbb  g  bbbbbbbbb  3 
□□g: bbbbbbb  g      g  bbbbbbb  gj 

□□cg  bbbbb  g_  .    _g  bbbbb  g  □ 

arc    G   BBB   Gj^u^u,.  .uG   BBB   G  ."1 

OCC      G   B   GaaDDDGDOaG  -  B  G_. 
IDCu,    _  ,G  G  . ^□□□□□CODGQ-.GJLLua 

1  14 


Fig.  529. 


aanarr 

□□□Hi  m 
ana  mm 

□□'jBBI 
□QBBBI 


GJ 

,,G^BBBBB-'!gnQa 

::"BBBBBBBBBBB"^a 
BBBBBBBBBBBBBJ 


BCIBBBBBBBBBBBBB 
□□□■■■■■BBBBBB  :l 
□□□'liBBBBBBBBB  G 
□r  i^G^BBBBBBB  G 
G   BBBBB  G 


BBBBBBBBBBBBBH 
BBBBBBBBBBB  3 
G   BBBBBBBBB   G 1 

G   BBBBBBB   G  VD 
G   BBBBB   G  U 


n  _  _  _ 

U          ''„"„'^  "„■„"  P 

ichl         ;:"b"g  ::"b"g  a 

c  ""obbbb"-  ""bbbbb"" 

□i:G"BBaSaSBBB~'G  G^BaBBBBBBa^GS 

DGi BaaaaaaaaaB. G_G  aaaaBaaBaaaaB 
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1  16 


Fig.  530. 


Main  float  of  warp  covers  15  picks,  and  main  float  of  filling  covers  13  warp-threads  on  the 
face  of  the  fabric. 

Point  draw  requires  9-harness. 


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Fig.  531. 


Fig.  532. 


A  second  style  of  honeycomb-weaves  is  designed  after  the  following  method :  Run  on  the 
designing  paper,  over  the  repeat  of  weave  wanted,  a  check  formed  by  a  twill  one  thread  up. 
This  check  must  stand  on  one  corner,  each  corner  forming  in  this  manner  one  of  the  point 


100 


harnesses  for  the  weave.  Next  put  into  every  other  square  (in  a  diagonal  direction)  the  required 
warp  float.    Every  square  so  alternated  remains  empty  or  may  be  further  outlined  by  one  row  of 


twill  (raisers). 


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Fig.  535 


Figs.  531  and  532  are  designed  to  illustrate  this  style  of  honeycomb-weaves. 
Fig-  53'-     Repeat:  12  ends  warp  and  12  picks. 
Point  draw :  7-harness. 

Fig.  532.    Repeat:  14  threads  warp  and  14  picks. 
Point  draw :  8-harness. 


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Fig.  536. 

We  now  pass  to  a  third  style  of  hone\-comb-weaves,  having  a  double  line  of  twills  for  the 
main  square.    In  this  manner  Figs.  533  and  534  are  executed. 
Fig.  533  has  for  its  repeat  12  warp-threads  and  12  picks. 


101 

Fig.  534  has  for  repeat  14  warp-threads  and  14  picks. 

These  honeycomb-weaves  have  also  the  filHng  float  sometimes  outh'ned  by  one  row  of  twill, 
as  illustrated  in  design  Fig.  535,  which  is  taken  in  its  foundation  from  Fig.  534. 

Figs.  536  and  537  illustrate  fancy  combinations  of  the  honeycomb-weave  for  groundwork 
with  point  twills  for  the  figure. 

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■□aaaaa  a  aaaaa    aa  ^aa  ^j:a  _^a^a_^a^^a^^  aa_^  aa_^  ::a  aa  ^^aa  _._aa  ^a  a_^a  ^a^_  aa    aa^_  aa    aaaaB^a  aaaaaa 

■□aaaaa  a  aaaaa  ::"  aa  aa'^  a"c:'^aaa' c:' a  "aa  "aa  "a"  aa'  aa'  a"a  aaa  a"a  "aa  "aa  "a  aaaaa'  a  aaaaai 
□a'  aaa  a  a  aaa  a    a::    a;:    a  a  aaa;:a  a  a    aa    ;:a      aa    c:::    a  a  aaaaa  a  a    aa    aa    a  aaa  a  a  aaa  ■ 

□□a  a  a  aaa  a;:  [:c:  a  a  [:  aaa  c:  a  a  ac:  c:c:  ::c:  c:a  a  ::  c:  ::a::  a  a  ::  [:a  [:a  aaa  a;  a  a  i 
□□  a  a  .  a'  a  aa  '  .ac:  c:  c:  a  c:  a  c:  a  a  c:  ac:  c:c:a  ::c:  ::  a  a  c:  a  a.  c:  a  c:  c:c:  ac:  a  a  «  a  a  a 
□I  la  a  a'  i  '  .a  a  m.  la  i  aa  c:  c;  ac:a  a  a  iaaa  c:'  a  c:c:  c;  c:c:  c;  c:  aaa  c:  .a  c:c:a  c:  c:  c;c:  c:aBa  bbbj 
□■  aaa  a  a  aaa  la  aa  a  c:  aaaaa  a'  iaaaaa  a  a  c:c:  c:c:  c:  c:  c:c:aac:  c:  c:c:c:c:c:  a  c:  c:a  a  aaa  a  a  aaa  ■ 
■□aaaaa  a  aaaaa  ;  aa  ^^a_^c:_  j;aaaa__c:;,^a  aaaaa^  a  _a^_  c:a  c:c:  __::__c:_  aaaac;__c;__c;__c;aaaa_^c:_^a_^  c;c:    aaaaa  a  aaaaa  j 

■r  aaaaa  a  aaaaa  a'  a"a"c:"::aa"a"aaa  a"aaa  a  'a"c:  "c;"  ::"c:"c;"c;ac:"c:"c:a:;":;"c:c;a"c:"c:"a  "c:  aaaaa  a  aaaaa  i 
ua  aaa  a  a  aaa  a    c:  a  c:ac:aa  a  c:  a  c:  c:  aaac:c:  a  a  a  a  a  c:    a  aaa  a  a  aaa  ■ 

□□a  a  a  aaa  c:  c:  ac:c:  a  :;  ;:ac:c:c:ac:  a  c:  c:::c:  a  a  a  c:  c:::c:  c:  c:  c:aac:c:c:c:  a  a  ac:a  a  a  a  a  ai  aaai 
□Lj  a  a  a  a  c:  a  aac:c:c;  c:  c:c;[;:;c;c:c:c;a  a  c:c:c;c;c:  c:  a  a  c;:;c;:;::  :;  c;c:c:ac:ac:c:a  a  c:ac:aa  a  aaa  mm; 
□r  a  a  a  aaa  a  a  ac::;  :;  a  ::ac::;c;ac:  c:  a  c;c:c:  c:  c;  a  c;  c:c;c:  c;  c;  c;aaaaaa  a  a  aaa  c;a  aaa  aaa: 
□ai  laaa  a  a  aaa  a  :;  c:  c:  c:  c:  a  c;c::;;:c:  ::  c:  a  a  c:  ::i  .  u  c:  c;  c;  ::  :;  aac:c:a  a:  a  a  a  a  a  a  aaa  a  a  aaa  a 
■□aaaaa'  a  aaaaa  c:^_  a_^a__a,_aaa_^c:_j::;c:_  c:^j;ac:__c:__c;^^a  ^^a  i._a  a^_a_j:ac;__a__c:c;c:^^a  _c;c:c:  _a^_:;__c;  ^_c;  aaaaa  a  aaaaa  i 

■□aaaaa  a  aaaaa  'c;c:  "c:"c;"c:c::;aa"a"c;"c;ac';a::"a"c;"  :;a  c:a  a"a"ac;aac;"c;"c;"aac:aa  a"c;"  c:a  aaaaa  a  aaaaa  ^ 
□a  aaa  a  a  aaa  a  c:a  :;  c;  ::aac:a  c:  c:c;c:c;c:  c:  c;  c:a  aa  c:  a  c:a::c;c;  c;  ac:aac:  a  c:  ::a  a  aaa  a  a  aaa  ■ 
□□■  a  a  a  a  a  c;  c::;  a  a  c:aa  a  ::  c:c;c:  c:  c:  ::c:  c;  c;c;  c:  c;  c:c;a  c:  ::  c;ac:  c;  c:a  a  a  a  a  aaai 
QDLa  a  a  a  :;c:  ac:  a  a  a  a  a  ::  c:  c:  a  c:c:  c::;c:  :;c:  :;  ::  c:  c;  ::  ::  c:  c:  c;a  aa  a  a  aai 
□□a  a  a  aaa  c;::  c:c:  a  a  a  aac;  c:  c:  a  ac;  c::;  ac:  c;:;  c;  c:  c:  c:::c:  c;  c;  :;  c:c:  aa  aaa  aaai 
□■'..  aaa  a  a  aaa  a    ac:    aa    a  a  aa:;ac:  a  a    ac:    :;c:      c;c:  a  c:  c:  c;c:    a  aaa  a  a  aaa  ■ 

■□aaaaa  a  aaaaa  c:^   c:a^_  c:c:^_  c:^^a__ac:c:__a  ^c:  '_j;:;  ,__c;c;   _c;^_  c;c;__  c;c;__  :;^_c;^^c;c:a__c:_^a   _c;a  ^^ac:  ^^a  aaaaa  a  aaaaa  i 

■□aaaaa  a  aaaaa  aa  i:  ac::  '  ac:  "a"::"c:'lc;  '  c:a"'  aa'"  c:c;  ac:  "ac;  "ac:  "a"a'  a"c:"  ac;"  c;a"  c;a  aaaaa  a  aaaaa  ] 
□a'  aaa  a  a  aaa  a    aa  ;l  aa    c;a        c;  c^    aa    ac:    c;c;      c;c:  :;c;  c:    aa    c:c:  a  aaa  a  a  aaa  ■ 

□□a  a  a  a  a  a  a  '  aa  .  c:a  ac:  c;  c;  c:a  'ac:  c:c;  c;  :;c:  aa  c:a  a  c;  aa  c:a  c;a  a  a  a  a  aaai 
□□'  a  a         a  a    aa      a    c:c:      a    c:    c;      aa    c:      aaa  ,    c:    c:a      c;    c:    c;      ac:    c:      ac;    a  a  aai 


DCi 


a.  aaaaa  a'  aaaaa  a  aaaaa  a  aaaaa  a  aaaaa  a  aaaaa  a  aaaaa  a  aaaaa  a  aaai 


□aaaaaaa  aaaaaaa 
■  aaaaa  a  aaaaa  a 

ca  aaa  ai  ai.  aaa  a 

□!.a  a  m-  j  lw  B'  a      B'  a  a  .  '  a'  Bi::a  '    a  a  a'..,a  a'  B'  a  '  i.  a'  a  a      aaa  b  a  a      a  a  a  i 

□L'l  B  a    '  .  B'  a  '                               ■             '--T.-      ■_  ' 

□  _aBB      aaa      aaa      aaa      aaa      aaa      aaa      aaa  aaa      aaa      aaa  aaai 

□■  aaa  a  a  aaa  a  a  aaa  a  a  aaa  a  a  aaa  a~  a  aaa  a  a  aaa  a  a  aaa  a  a  aaa  a  a  aaa  a  a  aaa  a  a  aaa  ■ 
■□aaaaa  a  aaaaa  a  aaaaa  a  aaaaa  a  aaaaa  a  aaaaa  a  aaaaa  a  aaaaa  a  aaaaa  a  aaaaa  a  aaaaa  a  aaaaa  j 

□aaaaaaa  aaaaaaa  aaaaaaa  aaaaaaa  aaaaaaa  aaaaaaa  aaaaaaa  aaaaaaa  aaaaaaa  aaaaaaa  aaaaaaa  aaaaaaa 


■a  a  aaaaa  a  aai 

§B5B'BauaH'ii'B"uLiL%%'?u'^,%%?GaQ%%'::aLjUB%fL,u^-'a'a'  .LL,'a'a?c^uuBUBuLjU^%%GDJa5B'Bu^!_ 


Fig.  537. 

A  fourth  division  of  the  honeycomb-weaves  embraces  those  known  as  "  star  effects." 

The  appearance  of  these  weaves  in  the  fabric  is  of  a  different  character  from  those  previously 
described.  The  effects  produced  by  these  weaves  in  the  woven  fabric  are  quite  novel,  and  a 
careful  study  of  the  annexed  designs  will  not  only  give  a  thorough  understanding  of  their  con- 
struction, but  will  greatly  aid  in  developing  new  ideas  for  weaves  in  this  line  of  fabrics.  The 
point  draw,  which  has  been  used  to  such  a  decided  advantage  in  the  first  three  divisions,  is  not 
used  in  this. 

Figs.  538,  539  and  540  are  different  weaves  designed  on  this  principle. 


102 


Fig.  538.    Repeat  of  pattern:  i6-harness  and  16  picks. 

Check  A  contains  in  its  8  ends  repeat,  a  twill  running  in  a  direction  from  left  to  right,  the 
twill  line  being  formed  by  the  warp  upon  filling  ground. 

Check  C  is  the  same  weave,  warp  and  filling  exchanged,  and  direction  of  twill  reversed. 
Check  B  and  D  are  bound  in  plain  for  forming  the  groove. 

Fig.  539.  Repeat  of  pattern  :  28  harness  and  28  picks.  This  weave  is  an  enlargement  of 
the  preceding  one  and  explains  itself. 


1  n  □  a 
r,r,      c:  □  ■■ 
/>  a  a  :;  v.mmm 

u  a      V.  ■■■ 


2soHanriE3nannr-'HDHnDoi 
L  a"'::"\:"a"L3"a'''L  

B   a  a   H  ■■■■■■■ 

LG  a  [:  a      a  aaBBBMBBB 

a  a  a      a  ■■■■■■■■■ 

,j   


■■■■■■■ 

ma»um ^ 


A 


a  c:  aj 
_    a  a  a^a 

^CiGaJauBuGQ 


□□□□nO'jnLi  ■■■■L 
uaoL  ■■■■■     . . 

□'  ■■■■■  . 
[!■■■■■ 


na 

:  IB 
,aa 
I  la 
u  aa 
a  a  a 

BQ£) 


if-a'  "B^rirnnnBMMiBi 


\C 


Fig.  538. 


16 


Fig.  539, 


a  a  □  a  n  :a 
a_,a_  a^a^^a__an 

a)^a"a":;"a"aG 

BuEJBGBLjBUB^ 


a  a  a  a  aaaa  ■  ■■■ 

:  a  .a  a  a  ■■  mm 
a^^a^^a  a^aa  ■■■■■'!]■ 

"  '        a  a  a  :ab 

■         m  a  a  ""a  .aoa 
LB      ■         a  a  'BD 

.  ■  ■  a  a  a  a  .]n  „ 
A        m         a  a  a  a  Z? 

■  ■  a  a  a  a.  a 
■      ■      a  a  a  S:j 

LB  ■  a,  a  :a  a^a 
i«,_j^^i_j^uijBuauaLBuBa 


Fig.  540. 


18 


Fig.  540.  Repeat:  18  warp-threads  and  18  picks.  This  weave  contains  in  its  principle,  in 
check  indicated  by  A,  the  X  of  a  common  twill  filling  face  on  9  threads  for  each  system. 
Check  C  contains  the  same  arrangement  except  that  the  warp  changes  place  with  the  filling. 
Checks  B  and  D  are  interlaced  plain  for  forming  the  groove. 

A  fifth  division  of  the  honeycomb-weaves  is  created  by  forming  squares  with  a  certain 
number  of  warp  and  filling  threads,  floating  (equal  long  floats  for  each  thread  in  either  system) 
regular  distances.    Figs.  541,  542,  543  and  544  are  designed  to  illustrate  this  system. 

Fig.  541.  Repeat:  12  warp-threads  and  12  picks.  Can  be  reduced  to  a  4-harness  "section 
draw." 

Fig.  542.  Repeat :  12  warp-threads  and  12  picks.  Can  be  reduced  to  a  4-harness  "  section 
draw." 


isaBnanaHMBBH 
BGB  aaaBBiH 

DB^  BZBHaaBH 
BuBTBHaBBBH 

DBf' a  ~' ■■■■■■■ 


"B'::'aDPDBnDDnDHO 

cazaiaaaDDQDDB 
B-  a  a^a^jDDcnaD 
□a  a  la  aaonDDB 


□a  :: 

DC 
□D- 
□□ 
□C 

iBca 


1 


3^B 

aa 
::ra 
aa 


Fig.  541. 


L...       ^    a  .a  a 
_.j^.^G  _.GL  an 

□□□□□□OBijaLa 

iBnanaoBCBCBa 
1  12 

Fig.  542. 


B"a"a" 
c  a  a  a, 
■■■■■■1 


□□□□BD 

"amaa 

a__n'iB 

a"a"a 
a  aa 
■  a  a  a  .]a 

a  a  a  aa 
a  a  a^BQH 
14 


i'-a;^a;^c^anj 

ca"a"a"ai 
a  :: 


a  a 

□UlJ.  . 

□no;  . 


■■■B 

■■■a 

: 

aBBBBBBBa 
'BBBBBBB'J 
□BBBBBBBB 
I  BBBBBBBl 

a  a  a  a  a 


a 


a  1 
■J  a 
a  1 
a 


Fig.  543. 


Fig.  544. 


Fig.  543.  Repeat:  14  warp-threads  and  14  picks.  Can  be  reduced  to  a  6-harness  "  section 
draw." 

Fig.  544.  Repeat :  16  warp-threads  and  16  picks.  Can  be  reduced  to  a  5-harness  "  section 
draw." 

IMITATION  GAUZE. 

These  weaves  are  used  for  such  fabrics  as  dress  goods,  curtains,  ladies'  aprons,  canvas  cloth, 
etc.  In  designing  these  weaves  the  end  to  be  gained,  is  to  have  3  to  4  warp-threads  and  also  3  to  4 
picks  intersect  each  other  very  easily,  while  the  next  following  warp  and  filling  thread  form  a  com- 
plete break  from  the  one  ahead,  and  so  can  be  readily  kept  apart  for  some  distance.  In  the  warp 
these  breaks  are  separated  by  the  reed  by  leaving  one,  two,  three  or  more  dents  empty.  The 
threads  required  for  a  close  working  are  drawn  in  one  dent.  To  give  a  clear  explanation  of  the 
matter.  Figs.  545  to  553  have  been  designed. 


103 


^■□■□■□■□■□B 

■  ■□■ 

MLM.  ■  ■ 

Gb   ■■■  ■■■ 

■   ■.  ■□ 

~DB  .■   ■-.«   ■  ■« 

■■■ .  mma 

■  ■  ■  ■  14 

□□uiBiuuuHi 

^    I     I     I  I 
Fig.  545. 


F'g-  545  illustrates  the  6-harness  imitation  plain  gauze-weave;  the  grama  mam 

lines  for  the  warp  (  |  )  indicate  the  break,  and  so  the  place    in    the  -^^'^ 

reed  where  one,  two  or  three  dents  are  to  be  left  empty.  Warp-threads,  ^SBS 
I,  2,  3  are  drawn  together  in  one  dent,  as  also  warp-threads  4,  5  * 
and  6.  546. 

Examining  the  weave,  filling-ways,  the  break  appears  between  picks  3 — 4  and 
6 — 7,  etc.  Picks  I,  2,  3  intersect  easily,  and  also  in  their  turn  after  the  break,  picks  4,  5,  6,  to  be 
followed  again  by  a  break;  picks  6  to  7  equal  to  6  to  I. 

Fig.  546  represents  a  general  analysis  of  the  weave,  which  will  at  once  convey  an  idea  of 
the  method  of  arrangement  and  operation, 
a  to     =  3  warp-threads  for  ist  dent. 
d  to  c,  =  space  for  one  (or  two  or  more)  empty  dents. 
<r  to      =  3  warp-threads  for  the  3d  dent  (or  4th,  5th,  etc.). 

From  d  to  repeat  of  weave  again  (=  a)  leave  space  (empty  dents)  equal  to  the  one  left 
from  i>  to  c. 
f  a  to  e,  =  2)  picks  for  close  work. 
^  J  e  to  f,  =  space  for  open  work,  equal  to  b,  c  in  warp, 
j  /  to^,  =  3  picks  for  close  work. 

1^  From  g  to  repeat  of  weave  again  (=  d)  leave  space  equal  to  the  one  left  from  e\.of. 


1        45  8 

■■■■□□□□■■■■□□□a 
■■■■neon 

\'m 

■    ■  ■■  ■    ■  ■■□ 


■■■■ 


■■n 

:i:n 


■       ■    ■■    ■  ■    ■■!  t 

□  L.      ■■■■  ■■■■ 

□i-^  ■■■■ .  ■■■■ 

n     I     I  I  I 


Fig.  548. 


■I 

fa% 


□□□□  ■■■■ 
□□CO  ■■■■ 

abed 

Fig.  549. 


Fig.  547  illustrates  the  enlargement  of  a  fabric  produced  on  weave  Fig.  545,  under  the  pre- 
viously explained  rules.  As  this  figure  cannot  help  but  to  explain  itself,  we  will  consider  the 
imitation  gauze-weave,  produced  upon  8-harness  and  8  picks  repeat,  which  is  shown  in  Fig.  548. 

The  lines  for  the  warp  (  |  )  indicate  operations  as  explained  by  Fig.  545,  the  break,  hence 
the  place  for  one,  two  or  more  empty  dents,  so  as  to  form  the  open  work  in  the  warp.  Warp- 
threads  I,  2,  3  and  4  are  drawn  together  in  one  dent,  also  warp-threads  5,  6,  7  and  8,  etc.  In 
the  filling  the  break  appears  between  picks  4 — 5  and  8 — 9,  equal  8 — i. 

Fig.  549  represents  the  analysis  of  the  weave  with  regard  to  appearance  in  the  fabric. 

Warp. — a  to  b,  4  warp-threads  drawn  in  one  dent,  b  to  c,  for  one  empty  dent  (or  two 
or  more),  c  to  d,  ^  warp-threads  drawn  again  in  one  dent.  From  d  to  repeat  of  weave  (=  d) 
leave  the  same  number  of  empty  dents  as  left  from  b  to  c. 

Filling. — a  to  e,  4  picks,  close  work,  e  to  /,  space  for  open-work,  equal  to  b  to  <r,  and  dto 
a,  in  warp,  f  to  g,  4  picks,  close  work.  From  g  to  repeat  of  weave  again  (=  d)  leave  space 
equal  to  the  one  left  from  e  to  f.  / 


104 


Fig.  550  illustrates  the  enlargement  of  a  fabric  produced  on  weave  Fig.  548,  under  the 
rules  already  mentioned. 

Figured  Imitation  Gauze. 

The  first  step  for  figuring  imitation  gauzes 
is  to  produce  .stripes  of  the  same  in  connection 
with  part  of  the  fabric  woven  in  the  common 
manner.  With  regard  to  wear,  imitation  gauzes 
will  be  less  durable  than  real  gauze;  yet  as  to 


A 

Plain  Ground 


C 


D 


■ 

■ 

■ 

■ 

■ 

■ 

■ 

■ 

n 

:m 

c 

■ 

■ 

■ 

■ 

■ 

■ 

■ 

■ 

M 

□ 

■ 

■ 

■ 

■ 

■ 

■ 

■ 

■ 

■ 

■ 

I 

■ 

■ 

■ 

■ 

■ 

■ 

□ 

■ 

■ 

■ 

■ 

■ 

■ 

■ 

■ 

□ 

Fig.  551. 


Fig.  550. 


general  appearance,  very  novel  designs  are  pro- 
duced in  the  former.  Fig.  551  illustrates  the 
weave  for  such  a  combination  of  common,  plain 
and  imitation  gauze  forming  stripes.  A  is  the 
common  plain  interlacing  part,  B  the  close- 
reeded  part,  B  to  C  and  C  to  forming  open  work  (separated  by  thread  C).  D  is  the  close-reeded 
part,  D  to  E  and  E  to  F  forming  open  work  (separated  by  thread  E).  F  close-reeded  part.  Repeat 
of  weave:  32  warp-threads  and  12  picks. 

The  second  movement  in  figuring  is  the        \  / 
forming  of  checks. 

Fig.  552  illu-strates  such  a  design,  forminir 
in  the  fabric  checks  interlaced  on  the  common 


DBG 
■■■ 


■■■ 


□   3  □ 

n  1:3  □ 


"a 


Fig.  552. 


plain  weave  to  alternate  with  checks  produced 
by  imitation  gauze;  36  warp-threads  and  36 
picks  forming  the  repeat.  Reeding:  3  threads 
in  one  dent,  2  dents  empty,  and  over  again. 

Diagram  Fig.  553  illustrates  the  plan  of  553- 
the  fabric  woven  with  weave  Fig.  552.    This  method  of  combining  the  plain  weave  and  imitation 
gauze  for  fomiing  figures  can  also  be  applied  to  ornamental  or  floral  designs. 


Combination  of  Weaves  for  Fabrics  Constructed  v/ith  One 
System  of  Warp  and  Two  Systems  of  Filling. 


The  object  in  designing  these  weaves  is  twofold — either  to  produce  additional  bulk  to  a  purely 
single-cloth  fabric,  or  to  produce  figuring  otherwise  impossible  to  be  obtained  on  purely  single 
cloth. 

Combining  Two  Systems  of  Filling  with  One  Kind  of  Warp,  for  increasing  the  Bulk. 

As  seen  by  the  above  heading,  two  systems  (or  kinds)  of  filling  are  essential  to  the  con- 
struction of  these  fabrics.  One  filling  (the  face  filling)  forms  with  one  system  of  the  warp  the 
face  of  the  fabric,  while  the  other  filling  (the  backing)  forms,  by  an  additional  interlacing  in  the 
warp  before  mentioned,  the  back  of  the  fabric.  The  latter  filling  is  solely  applied  to  the  single 
cloth,  as  mentioned,  for  the  purpose  of  increasing  the  thickness,  and  might  properly  be  considered 
only  as  a  lining.  To  increase  the  thickness  of  a  fabric  in  this  manner  is  of  great  advantage  to 
the  manufacturer,  and  is  thus  used  very  extensively  in  the  manufacture  of  "heavy-weight" 
woolens,  etc.  The  weave  employed  for  the  face  of  the  fabric  (interlacing  the  warp  and  the  face 
filling)  is  generally  of  a  more  artistic  construction  than  the  weave  used  for  interlacing  the  backing 
into  the  above-mentioned  fabric. 

It  will  readily  appear  that  the  warp-thread i  in  these  fabrics  must  resist  to  a  certain  extent 
more  strain  than  the  filling,  and  for  this  reason  should  be  composed  of  a  better  stock,  in  addition 
to  a  harder  twist.  The  backing  must  contain  only  a  small  amount  of  twist,  so  that  the  bulk  of 
the  thread  (without  considering  its  additional  heavier  size)  will  always  be  larger  than  the  harder- 
twisted  face-filling  or  the  warp.  The  "  soft "  twist  in  the  backing  will  also  produce  a  soft  hand- 
ling fabric.  Among  the  materials  for  producing  a  proper  backing,  which  may  be  used  with 
advantage  in  addition  to  wool,  are  the  cheaper  articles,  such  as  shoddy,  mungo,  card-waste,  roving- 
waste,  etc. 

In  constructing  the_  weaves,  we  must  first  deal  with  the  face-weave  (interlacing  warp  and  face 
filling),  and  this  in  a  manner  independent  of  any  additional  backing ;  as  it  applies  to  any 
weave  for  single  cloth. 

The  backing  must  only  form  an  addition,  separately  introduced  into  the  face  fabric  and  for 
purpose  originally  intended,  unless  a  .special  effect,  such  as  "  tricot,"  etc.,  is  required. 

The  most  frequently  used  proportions  for  backing  to  face  filling  are  :  One  pick  face  to  alter- 
nate with  one  pick  back  and  two  picks  face  to  alternate  with  one  pick  back.  Seldom  do  we  find  3 
picks  face  to  alternate  with  i  pick  back  ;  or  irregularly,  as  2  picks  face,  i  pick  back,  I  pick  face, 
I  pick  back,  5  picks  in  repeat,  etc.,  etc. 

In  using  the  arrangement  "one  face  pick  to  alternate  with  one  backing"  be  careful  to  use  a 
size  of  the  latter  not  much  heavier  (if  any  at  all)  than  the  former.  If  using  a  backing  of  a  too 
heavy  size,  it  will  influence  the  closeness  of  the  face  filling  and  produce  an  "  open  face  "  appear- 
ance in  the  fabric. 

As  mentioned  before,  the  backing  should  be  of  no  consideration  in  the  construction  of  the 
single  cloth,  and  this  with  respect  to  its  weave  as  well  as  to  its  texture,  i.  e,  the  same  number  of 
picks  required  in  a  single-cloth  fabric  must  be  retained  for  face  picks  if  a  fabric  containing  face 
and  back  filling  is  constructed.  Thus,  for  example  :  A  fabric  on  the  single-cloth  system  requiring 
44  picks  per  inch  will  require,  if  arranged  in  its  filling  "  i  pick  face  to  alternate  with  i  pick  back," 
88  picks  per  inch.  Again,  if  2  picks  face  are  to  alternate  with  I  pick  back,  use  66  j^icks  per 
inch,  etc.,  etc. 

(105) 


106 


In  both  examples  given,  we  suppose  the  size  (i.  e.,  thickness)  of  the  warp  and  face  filHng  to 
remain  undisturbed. 

Rules  to  be  Observed  in  Designing  these  Weaves. 

The  weave  for  the  back  fiUing  must  be  selected  without  disturbing  the  face.  The  back 
filling  in  its  method  of  interlacing  must  pass  readily  underneath  the  face  pick  previously  inter- 
woven ;  also,  allow  the  next  succeeding  face  pick  to  cover  any  part  not  covered  by  the  previously 
interwoven  face  pick. 

To  produce  this  result  the  warp-threads  used  for  binding  the  back  filling  must  be  in  the 
lower  shed,  in  the  face  pick  preceding  the  backing  as  well  as  the  one  following  it. 

Another  point,  which  properly  comes  under  the  present  rules,  but  which  has  been  treated  to 
a  certain  extent  before,  is,  to  arrange  regular  transpositions  of  face  and  back  picks. 

If  the  face-weave  contains  a  far-floating  filling,  the  binding  of  the  backing  into  the  warp- 
threads  should  be  arranged  as  nearly  as  possible  in  the  centre  of  this  float. 

To  produce  good  work,  and  perfect  cloth,  every  warp-thread  should  be  used  in  rotation 
according  to  the  weave  for  binding  the  back;  because,  if  some  warp-threads  should  be  omitted, 
they  will  get  less  tension  through  weaving,  and  give  trouble.  A  bad  shed  will  result,  etc.,  with  a 
possibility  of  spoiling  the  fabric.  If  we  should  be  obliged  to  omit  some  of  the  warp-threads 
from  the  binding  in  the  back,  we  must  be  careful  to  arrange  those  used  in  a  regular  and  well- 
distributed  manner. 

Among  points  worth  considering  in  the  manufacture  of  the  present  kind  of  fabrics  we  note: 
If  the  weave  (or  system)  for  interlacing  the  backing  to  the  warp  is  of  a  short  repeat,  that  is,  no 
large  floats  of  the  backing,  we  must  use  a  soft-twisted  back  filling.  Should  we  use  a  very  hard- 
twisted  yarn,  the  possibilities  are  that  the  backing  will  "show  through"  on  the  face. 

To  use  a  backing  with  the  least  possible  twist  (yet  sufficiently  so  to  avoid  "tender"  goods) 
will  also  be  of  advantage  during  the  finishing  process,  as  most  fabrics  to  which  the  present  sys- 
tem of  weaves  applies  require  a  soft  well-covered  back. 

'  ■■ 

umm  ^mmi 
■■ ~  aan  n 

Fig.  554.  Fig.  555.  Fig.  556. 

Care  must  also  be  exercised  in  selecting  the  material  for  the  backing  with  due  consideration 
of  the  proportional  amount  of  binding. 

The  heavier  in  size  the  backing  is,  the  earlier  will  imperfections  appear. 

We  will  next  consider  a  few  of  the  most  frequently  used  combinations  of  weaves  for  these 
fabrics. 

Let  us  first  consider  the  weave  Fig.  554.  The  arrangement  to  be  observed  in  combining 
face  and  back  filling  is  to  take  one  of  each  system  alternately.    For  the  face-weave  (picks,  i,  3, 

5,  7)  select  the  4-harness  ^  3  twill  (see  ■  t3'pe).    The  interlacing  of  the  back  filling  arrange  with 

the   ^  4-harness  twill  (see  Q  type).    Repeat  of  complete  weave :  4  warp-threads  and  8  picks. 

For  a  proper  understanding  of  the  present  weaves,  two  different  characters  of  type  are  used, 
one  for  indicating  the  face  filling  (■)  and  one  for  indicating  the  backing  (n). 

Diagram  Fig.  555  illustrates  the  section  cut  of  a  fabric  interlaced  on  weave  Fig.  554. 

Weave  Fig.  556  shows  the  4-harness  even-sided  twill  arranged  for  "backing  cloth."  For 
the  intersecting  of  the  backing  the  8-harness   j  twill  is  used.  Thus  one  repeat  of  the  inter- 
lacing of  the  backing  equals  two  complete  repeats  of  the  face-weave. 


107 


Fig.  557  illustrates  the  section  of  a  fabric  interlaced  with  weave  Fig.  556.     The  back 


stitches  onto  the  regular  8-harness 


twill,  as  mentioned  before,  and,  in  consequence,  runs  its 


points  of  interlacing  to  the  face  in  one  twill  line  of  the  latter,  leaving  the  second  undisturbed. 
This,  in  turn,  shows  every  alternate  twill  line  on  the  face  of  the  fabric  (into  which  the  backing 
binds)  more  prominently  than  the  other.  To  prevent  this,  it  is  advisable  to  use  the  weave  shown 
in  Fig.  558,  being  the  same  face  as  previously  used,  except  having  the  8-harness  satin  applied  for 


interlacing  the  backing. 


Id, 


■nri»«n'-» 


Fig.  557. 


Fig.  558. 


The  latter  weave  combines  face  and  back  by  alternately  exchanging  the  points  of  interlacing 
from  one  twill  line  of  the  face  to  the  other;  thus  in  one  repeat  of  the  complete  weave  it  has  four 
points  of  interlacing  in  each  twill  line  of  the  face.  This  method  of  arranging  a  weave  produces 
a  smooth  face,  one  twill  line  showing  as  prominently  as  the  other  over  the  entire  surface  of  the  fabric. 

Fig-  559-  Repeat:  12  warp-threads  and  24  picks.  Face-weave:  — — 3  6-harness  twill. 
Weave  for  interlacing  the  backing:  12-harness  satin.  This  weave,  like  weave  Fig.  558,  produces 
a  smooth  face. 

An  illustration  of  a  fancy  twill,  arranged  for  backing,  is  given  in  weaves  Figs.  560  and  561. 

Fig.  560  represents  the  face-weave.    Repeat:  16  warp-threads  and  16  picks. 

Fig.  561  illustrates  this  face-weave  arranged  for  a  backing  cloth,  one  pick  face  to  alternate  with 
one  pick  back.  Repeat:  16  warp-threads  and  32  picks.  The  weave  used  for  interlacing  the  backing 
to  the  face- fabric  is  the  i— ^ — ~ —  1 6-harness  twill. 


24naaa3aaaa~aa 

aaoaaaaaaaaa 
■□□uBBBGaDaa 

aaBGC-jaaaBBQa 
□□□■■■□□□■■a 

□aaaaaanaaaa 

aaa:;::  nc;;":::a 

'3 


i:;a 


___  ____ 

■'■■■""3 

1  12 

Fig.  559. 


Fig.  560. 


s-EHanaaaaaaBaBBGH 

■'^  ■^''  ■■■"^^■'^ 
'  ■"■■^■■i 

■''  ^■■B",^ 

BB]'BB"B'\  jiBB"  ji' : 
BBB^^^^B''  jiBB" _J^^^ 
^^eB"B"'  jiBB''_  B"BB 

sX)!b  '„B5S  '„s""!rF 
B^B''  jiBB''_ 
^B"  _j(BB"'  B""BBB)^ 
B"  mmu"  y-'yyyy" 


Fig.  561. 


Fig.  562. 


KBCBBBaBBGDaBaBBH 


□BBE 
BGBC 


BB"B__"BB^ 
"B_"BB_'^S 


BBC 

□■■ 

□GC 
□Gi 

BGE 


BBBc;::c 


I  3 


Fig.  563. 


:::a 

■  G 


Fig.  562  illustrates  an  entwining  twill.  Repeat:  16  warp-threads  and  16  picks.  This  twill 
is  illustrated  as  applied  for  backing  in  weave  Fig.  563,  one  pick  face  to  alternate  with  one  pick  back. 

In  applying  backing  to  similar  "entwining-twills,"  as  also  to  "broken-twills,"  be  careful  to 
arrange  the  same  so  as  to  have  the  points  of  interlacing  follow  the  twill  lines  in  the  face-weave 
running  in  the  direction  from  left  to  right,  as  well  as  from  right  to  left. 

Granite-weaves  constructed  from  the  satins  are  well  adapted  for  the  application  of  a  backing. 
In  this  case  the  satin  which  was  used  in  the  construction  of  the  face  will  be  the  weave  required 
for  the  backing. 

For  example,  see  weaves  Figs.  564  and  565. 


108 


Fig.  564  illustrates  a  common  granite-weave,  which  is  shown  with  a  backing  applied  in  tig.  565. 
Weave  Fig.  564  (single  weave).    Repeat:  8  warp-threads  and  8  picks. 

Fig.  565,  the  previous  weave  with  a  backing  applied.    Repeat:  8  warp-threads  and  16  picks. 
Fig.  566.    Diagram  of  the  section  cut  of  a  fabric  interlaced  on  weave  Fig.  565.       =  face 
filling;  b,  backing. 


c:;:::::;:;  :3 
■■  ■■ 

■■  ■■ 

□■■  ■■  ■■  „ 


□  ex; 


Fig.  564.  Fig.  565.  Fig.  566. 

In  fabrics  in  which  the  arrangement  of  one  face  pick  to  alternate  with  a  backing  will  pro- 
duce too  heavy  a  cloth — in  fabrics  in  which  the  arrangement  of  combining  the  backing  to  the 
face-weave  cannot  be  properly  effected,  and  in  fabrics  in  which  it  is  desired  to  have  used  a  much 
heavier  size  of  yarn  for  the  backing  than  is  used  for  the  face  filling,  the  arrangement  just  given 
cannot  be  followed.    It  must  be  changed  to  2  picks  face  and  i  pick  back. 

This  proportion  of  face  and  back  is  very  extensively  used  in  the  manufacture  of  woolen  fabrics. 

Producing  the  backing  of  a  heavier  size  will  (taken  in  the  average)  allow  of  a  cheaper  mate- 
rial (waste)  being  used.  It  also  tends  to  a  greater  production  of  cloth  by  using  less  picks  per 
inch;  a  larger  quantity  of  roving  per  set  of  cards  in  a  given  time,  more  pounds  of  yarn  per 
spindle,  etc.,  etc.  Another  point  much  in  favor  of  the  present  designated  proportion  of  face  and 
back  filling  is  the  advantage  of  getting  a  full  face  with  less  picks  per  inch  than  by  using  the 
proportion  of  one  pick  face  to  alternate  with  one  pick  back. 

Weave  Fig.  567  illustrates  the  combination  of  the  ^  6-harness  twill  with  the  j  twill, 

but  using  only  every  other  warp-thread.    Repeat:  12  warp-threads  and  18  picks. 

If  the  proportion  of  one  face  pick  to  one  back  pick  produces  a  cloth  too  heavy,  and  the 
two  face  picks  to  alternate  with  one  back  pick  produces  a  cloth  too  light,  or  should  the  size  of  the 
backing  yarn  be  too  heavy  for  one  face  and  one  back,  or  too  fine  for  two  face  isgga  sggnsnGg 
and  one  back,  we  must  use  the  average  of  both ;  thus —  lEl^asr"'"^* 

2  picks  face,  pgaj::::;::L"jaaj 


I  pick  back, 


I  pick  face,  g^PaSii"  "«g 

...      ,  □□■■a      ■■■ J 

I  pick  back,  nggS'^  "ggij^" 

—  'i'^ 

5  picks  in  repeat.  Fig.  567. 

Should  a  fabric  require  a  proportional  arrangement,  of  less  weight  than  that  produced  by 
2  face  I  back,  use  3  picks  face  to  alternate  with  i  pick  back,  etc.,  etc. 

Combining  Two  Systems  of  Filling  with  One  Kind  of  Warp  for  Figuring  with  Extra 

Filling  upon  the  Face  of  the  Fabric. 

In  these  weaves  the  extra  filling  is  brought  at  certain  intervals  upon  the  face  of  the  fabric  for 
forming  additional  fancy  effects.    In  woolen  and  worsted  fabrics,  for  men's  wear,  these  effects  are 
generally  limited  to  stripes  and  checks,  whereas  if  used  for  dress  goods  they  are 
ga^  i      often  of  a  very  elaborate  design. 

□BaB''  aa"  aa  Weave  Fig.  568  represents  a  stripe  effect,  produced  by  an  extra  filling  (back 

iqg"  aa"  aa"a      filling)  introduced  after  four  successive  ground  (face)  picks.  Q  face  picks  (ground), 
Fig.  568.         ■  figure  picks  (back).    The  weave  employed  for  the  ground  fabric  is  the  common 
4-harness  twill  ?  2-    Repeat:  12  warp-threads  and  5  picks.    □  and  ■  for  raisers,  □  for  sinkers. 


109 


B  a  i:-3  ia  ^a  la  la  ja  )a  ja  la  .a  la.jauaj 
I  ia  a  a  a  a  a  a  a  :;  a  a  a  a  ,a  'a 
a_  a  ^::^_a__a  a_  a_  a^_a__a_  a^_a__a_  a^  a^  ,a_j 

d'  C3"a"a"a"a"a"a"a"a"a'':;''::\aja_.a  J 


L:.-:  a  'a  a  la  ,a^ 
H      a  a  ,a  a  a  a 

H  a  a  a  ja  la  n  .a 
Da  a  a  la  la  la. la  :: 

B"a^'_a)^a)Ja"a"a'^:3^: 

a;;a"^a"c:;;a"a"a^a;; 
■■■,,a,^"_H,^ii  ■>■■■■■ 


;__a  a 

■  ■■■■■■ 

;  a      a  a  ja 
■  ■■■■■ 

a  a  a  a  a_; 

"  ■  ■■■ 

a  a  a  a  -a  j 
,■ 

;  a  ia 


la  .a  la 
■■■■■ 


:;"a"^i 
a  a 


a' 


Design  Fig.  569  illustrates  the  figuring  with  an  extra  filling  for  forming  a  small  spot  figure. 

This  extra  filling  is  similar  (except  the  floating,  which  is  more 
extended)  to  the  previously  illustrated  example  of  floating  on 
the  back  of  the  fabric  and  is  interlaced  with  the  face  fabric  in  a 
manner  to  produce  the  desired  effect;  in  the  present  instance 
producing  small  spots.  This  extra  filling,  floating  to  a  great 
extent  on  the  back  of  the  fabric,  is  generally  removed  by  cutting 
off  those  floats  around  the  place  where  they  interlace  with  the 
face  fabric. 

Another  style  of  fabric  which  is  constructed  on  this  system 
of  weaves  are  union  fabrics,  comprising  certain  kinds  of  shawls, 
Chinchilla  and  Ratine  overcoatings,  etc. 

In  weaves  for  this  description  of  fabrics  the  interlacing  of 
the  face  filling  with  the  warp  is  the  same  as  the  one  used  for 
interlacing  the  backing.  The  warp,  which  is  in  most  cases  of 
cotton,  rests  imbedded  between  the  two  kinds  of  filling. 

Fig.  570  illustrates  the  combination  of  the  5 -harness  satin 
filling  up  for  face  and  the  5-harness  satin  warp  up  for  back; 
thus  the  same  weave  will  form  the  face  and  back.    Repeat:  5-harness  and  10  picks. 

Fig.  571  represents  a  like  combination  of  the  8-harness  satin  filling  up  for  face,  warp  up  for 
back.    Repeat:  8-harness  and  16  picks. 


Lia  'a 
■■  ■ 
a  a 
■■■ 

iDaua 


a_ja  ja.ja 
a  a  'a 

a^a  .a  , a' 
Fig 


a  [:  a 
a  a  a  a 

,a  ,a  ,a 
a  a  a  a 


a  a  a  a  a 

.aja  ^a-^a-ja. 


,ai 
:  ;a 

■a  J 

:"a 

■a  .1 

;  ;3 

a  D 


a  a 

aja 
;  a  J 
^aja 


569- 


loaCQHCl 
□DLiBD 

Gaaaa 
□■Licn 

caLiaa 

DUQDB 

□□□□a 

□□■GT 

1  5 

Fig.  57c. 


"nnananaa 

Lsaaaaaa 

Lcm:'  ■_!□ 
aaaaai  :3a 

aaaaaaaa 

' "ill; 

t:  aaaaaa 
■  J 

aaaaaa  a 


Fig.  571. 


isBHnBDHHaaa 

 '■ 

■  """ii  "■"] 
c_.^  ■  

■  "  1 
g:     ■  ■ 

aaa  aaaa  a 
gl  ■       ■  : 


Fig.  572. 


Fig.  572  illustrates  the  5-harness  satin  filling  up  for  face  and  the  same  weave,  warp  up,  for 
back.  Arrangement  for  exchanging  face  and  back  filling  is  2  picks  face,  i  pick  back.  Repeat: 
5  warp-threads  and  1 5  picks. 

Swivel- Weaving. 


For  fabrics  in  which  the  figures  are  produced  with  an  extra  filling  and  these  figures,  as  seen 
on  the  face,  are  far  apart,  as  in  figured  dress  goods,  ribbons,  etc.,  these  figures  are  produced 
upon  the  ground  structure  of  the  fabric  by  using  a  loom  having  a  "swivel  lay"  attached. 

The  object  of  "swivel-weaving"  is  to  save  material  in  fabrics  having  small  figures  for  the 
design,  and  to  give  to  such  figures  a  more  prominent  appearance  in  the  fabric  than  can  be  pro- 
duced by  the  common  method  of  weaving  by  floating  the  filling  on  the  back  when  not  required 
for  figuring  on  the  face.    There  is  a  further 

advantage  in  the  designing,  for  no  disturb-     r  r  f  ZX- 

ance  of  the  design  is  necessary. 

Again,  in  cases  where,  in  the  ordinary 
process  of  weaving,  the  figure-filling  would 
shew  through  on  the  face,  and  thus  must 

be  cut  off,  this  method  of  weaving-  omits  ^ 

Fig  573 

the  cutting  away  of  the  loose  filling  on  the 

back;  and  in  this  case  the  swivel  arrangement  contributes  to  the  strength  of  the  fabric. 


110 


Fig.  573  is  an  illustration  of  a  swivel  fitted  in  a  movable  frame  to  be  attached  to  the  regular 
batten  of  a  loom. 

The  method  of  weaving  fabrics  figured  by  the  swivel  arrangement  is  as  follows:  After  the 
common  shuttle  carrying  the  ground  filling 
is  interwoven,  a  separate  shed  of  the  warp  is 
opened  for  the  introduction  of  the  swivel 
shuttles  (instead  of  passing  a  common  shuttle 
all  the  way  across  the  loom)  carrying  the  fill- 
ing which  has  to  form  the  figures  on  the  fabric 
at  intervals  of  two  or  more  inches.  Each 
figure  in  the  fabric  is  formed  by  its  own  shuttle 
(filling);  hence  it  is  apparent  that  by  the  swivel 
arrangement  we  can  have  different  colors  in 
the  same  shed  across  the  fabric.  In  using  a 
fly-shuttle  in  common  weaving  the  filling  from 


< 

> 

> 

Fig.  574. 


the  latter  has  to  be  used  in  every  figure,  whereas  by  the  swivel  method  every  figure  may  have 
its  own  color. 

The  swivel  is  used  to  the  best  advantage  in  the  production  of  small  spot  figures. 
In  Figs.  574  and  575  such  effects  are  shown. 

As  the  shuttles  of  the  "  swivel  "  are  all  of  a  given  size,  and  are  arranged  in  certain  distances, 
they  require  the  design  to  be  arranged  accordingly.  By  examining  Figs.  574  and  575  we  find 
the  distances  between  the  figures  to  outmeasure  completely  the  spaces  occupied  by  the  figures 
themselves,  which  point  it  is  necessary  as  a  standard  rule  to  keep  steadily  under  consideration  in  de- 
signing. One  and  three-quarter  inches  is  about  the  smallest  width  of  the  shuttle,  thus  two  inches 
is  the  smallest  distance  possible  to  be  used  by  a  shuttle  of  such  a  size ;  but  generally  a  wider 


Fig.  576. 


Fig.  575. 


distance  between  the  figures  is  allowed  so  as  to  get  a  more  perfect  fabric.  The  general  rule  to 
be  observed  in  designing  for  these  fabrics  is  to  have  the  distance  between  the  figures  about  thrice 
as  wide  as  the  space  occupied  by  the  figure  itself 

In  these  designs  the  ground  filling  forms  the  general  design  for  a  ground  or  all-over  effect, 


Ill 


while  the  filling  introduced  by  the  swivel  shuttles  only  contributes  to  the  coloring  up  of  par- 
ticular effects. 

Circular  swivels  are  used  for  fabrics  where  very  close-set  figures  are  required.  These  swivels 
are  specially  constructed  for  these  effects. 

Combination  of  the  Swivel  Effect  with  Figuring  through  the  Warp. 

In  some  fabrics  (but  only  where  the  most  exquisite  designs,  richness  and  fineness  of  material 
are  employed)  this  method  is  applied,  hence  we  have  to  use  the  following  four  distinct  systems  of 
threads  in  producing  the  fabric  : 

1st.  One  kind  of  warp  to  form  a  general  ground  fabric  with 

2d.  The  regular  ground  filling ; 

3d.  One  kind  of  warp  to  produce,  on  the  two  systems  mentioned,  the  foundation  parts  of  a 
design,  into  which  the  filling  from  the 

4th,  swivel  shuttles  forms  the  figure  spots. 

Fig.  576  is  executed  on  this  method.  In  this  we  find  the  white  grounds  for  systems  i  and  2. 
The  stems,  leaves  and  buds,  only  outlined  in  design  for  system  3,  whereas  the  two  shaded 
flowers  have  to  be  produced  through  system  4,  or  the  swivel  shuttle.    Design  Fig.  576,  illustrat- 


FiG.  577. 


ing  only  one  effect,  has  to  be  arranged  for  practical  use  according  to  the  fabric  for  which  it  is 
required. 

Another  combination  of  the  swivel  arrangement  with  figures  produced  with  the  common 
shuttle,  but  of  a  yet  more  complicated  nature,  is  procured  by  combining  systems  of  threads  as 


follows : 

1st  system : 

ground  warp. 

2d 

ground  filling  (common  shuttle). 

3d  " 

figure  warp. 

4th  " 

figure  filling  (common  shuttle). 

Sth 

the  filling  from  the  swivel  shuttle. 

Swivel  Loom. 

The  foregoing  explanation  of  the  theory  of  swivel  weaving  requires  in  practice  a  loom  which 
must  be  capable  of  two  different  movements — namely,  the  plain  or  fly-shuttle  movement,  and  the 
swivel  and  plain  weaving  movements  combined — to  produce  the  figure  or  pattern  in  the  body  of 
the  fabric  while  the  latter  is  being  woven. 

For  illustrating  the  method  of  operation  in  such  a  loom  diagrams  Figs.  577  to  580,  represent- 
ing the  J.  Wadsworth  swivel  loom,  are  given,  similar  letters  referring  to  like  parts  in  each  figure. 


112 


The  before-mentioned  two  movements  are  carried  on  in  the  following  manner:  First,  the 
loom  having  been  adjusted  for  plain  weaving,  the  cam-shaft  C  is  in  the  position  shown  in  Fig. 
577,  which  illustrates  a  view  of  part  of  the  loom,  partly  broken  out,  looking  down  upon  the  same. 
As  the  cam-shaft  revolves  the  roller  projections  ^  at  the  right-hand  end  of  said  shaft,  and  the 
similar  projections,  z'  z^,  at  the  other  end  of  the  cam-shaft,  alternately  depress  the  treadles  / 
which  in  turn  operate  the  picker-sticks  s  s,  to  throw  the  fly  or  body  shuttle  back  and  forth  across 
the  loom,  as  in  ordinary  weaving.    The  rollers  z' ,  z^,  ,3^  and  z^  must  be  so  placed  in  relation  to 


«3 


Fig.  578. 

each  other  that  they  will  act  alternately,  first  operating  the  picker-stick  at  one  side  of  the  loom 
and  then  the  picker-stick  at  the  other  side  of  the  loom,  and  so  on.  The  fly-shuttle  is  thereby 
caused  to  pass  across  the  loom  four  times  during  one  revolution  of  the  shaft  C.  This  is  the 
plain-weaving  motion  of  the  loom  producing  the  body  of  the  fabric,  and  is  the  first  motion  referred 
to  above.  The  next  operation  is  the  introduction  of  the  swivel-shuttles  for  the  purpose  of  weav- 
ing figures  or  patterns.  This  is  accomplished  by  shifting  the  shaft  C  with  its  attached  cams  and 
rollers  along  the  line  of  its  horizontal  axis  from  right  to  left,  so  that  it  will  occupy  the  position 
shown  in  Fig.  578.  The  harness  and  other  portions  of  the  loom  not  essential  to  a  full  under- 
standing by  the  student  are  omitted  from  the  drawings.  By  the  shifting  of  the  cam-shaft  a  new 
set  of  cams  and  levers  is  brought  into  action,  and  the  operation  of  certain  of  the  devices  which 
were  in  action  before  the  shifting  of  the  shaft  is  arrested,  while  a  portion  of  the  devices  which 
were  in  action  before  the  shifting  of  the  shaft  remains  in  action  after  the  shaft  has  been  shifted. 


Fig.  579. 

The  new  cams  and  levers  thus  brought  into  play,  acting  in  connection  with  the  devices  which 
remain  in  operation  after  the  shifting  of  the  shaft,  as  stated,  give  the  second  movement 
previously  mentioned — namely,  the  combined  plain  and  swivel  movement. 

In  diagram  Fig.  579  the  front  view  of  the  loom  is  illustrated,  in  which  a  portion  of  the  plate 
at  the  left-hand  end  of  the  loom  is  cut  away  to  enable  the  rollers  z'  .s^  the  more  readily  to  skip 
or  miss  the  treadle.  In  place  of  the  shots  of  the  fly-shuttle,  the  swivel-shuttles  are  called  into 
action  by  means  of  the  second  change  effected  by  the  shifting  of  the  cam-shaft — namely,  that  by 
which  the  arms  b  b,  with  their  attached  rollers  d  d' ,  are  caused  to  operate  the  treadles  a  a  and  to 


113 


give  to  the  rack  E,  containing  the  swivel-shuttles  D  D  D  the  necessary  downward  motion,  and 
by  which  at  the  same  time  the  cam  /,  through  its  connections  K  L  y,  is  caused  to  drive  the  swivel- 
shuttles  horizontally  to  weave  the  desired  figure  or  pattern.  The  action  of  the  fly-shuttle  must 
alternate  with  that  of  the  swivel-shuttle.  The  operation  then  is  as  follows,  reference  being  had 
to  Figs.  578  and  579.  As  the  cam-shaft  ^7  revolves  the  roller  depresses  the  treadle  to  operate 
the  picker-stick,  thus  throwing  the  fly-shuttle  from  right  to  left.  During  the  next  quarter-turn 
of  the  shaft  the  roller  z'  would  operate  the  picker-stick  at  the  left  side  of  the  loom  to  return  the 
fly-shuttle  were  it  not  that  by  the  shifting  of  the  cam-shaft  this  roller  is  thrown  out  of  gear.  In 
its  stead,  the  rollers  d  d,  attached  to  the  arms  b  b,  are  brought  into  contact  with  the  treadles  a 
and,  depressing  the  same,  pull  downward  the  rods  /  /  (against  springs  j^j^,  arranged  around  the 
same),  and  the  attached  rack  E,  containing  the  swivel-shuttles  V  V  V,  is  thus  brought  into  posi- 
tion for  the  working  of  the  swivel-shuttles  with  the  warp.  Almost  simultaneously  with  this 
downward  movement  the  swivel-shuttles  are  driven  longitudinally  from  right  to  left  by  means  of 
the  cam /,  acting  in  connection  with  the  levers  Kand  L,  rod  J,  and  the  rack-and-pinion  mechanism. 
By  referring  to  Figs.  579  and  580  it  will  be  seen  that  on  the  outer  edge  of  the  wheel  /,  and 
extending  half-way  around  the  circumference  of  the  disk,  is  a  collar,  e,  having  its  ends  beveled. 
As  the  shaft  C  revolves,  carrying  with  it  the  cam  /,  the  roller  g,  which  is  attached  to  the  lever  K, 
coming  into  contact  with  the  collar  e,  is  thrown  outward,  carrying  with  it  the  lever  /v,  which  in 
turn  operates  the  vertical  lever  Z,  moving  on  the  pivot  To  the  free  end  of  the  lever  L  is 
attached  the  rod  J.    Rod  y  is  connected  with  rack-bar  T^^,  see  Fig.  573,  which  rack-bar  is  sup- 


ported in  the  rack  E,  and  is  in  engagement  with  pinions  V ,  which  in  turn  engage  teeth  upon 
the  swivel-shuttles  V  V  V.  As  the  lever  A' is  thrown  from  right  to  left,  the  swivel-shuttles  are 
driven  in  the  same  direction.  This  longitudinal  motion  occurs  almost  simultaneously  with  the 
up-and-down  movement  mentioned  before.  The  roller  g  is  kept  in  close  contact  with  the  cam / 
by  means  of  the  spring/,  and  is  prevented  from  being  operated  by  the  cam  when  the  cam-shaft 
has  been  shifted  for  plain  weaving  by  the  stop  k.  (Shown  in  Figs.  578  and  580.)  By  the  time 
this  double  motion  has  been  accomplished  the  shaft  has  made  another  quarter-turn,  the  rollers 
d  d  have  released  the  treadles  a  a,  and  the  springs  around  the  rods  /  /  throw  upward  the  rack  E 
and  the  shuttles  V  V,  to  remove  the  same  from  the  working  level  and  allow  the  fly-shuttle  to  pass 
without  interference.  The  cam-shaft  having  now  entered  upon  the  third  quarter  of  its  revolution, 
the  roller  ^  depresses  the  treadle  /  on  the  left-hand  side,  thereby  operating  the  picker-stick  s  to 
throw  the  fly-shuttle  back  again  across  the  loom  from  left  to  right,  the  roller  ^  at  the  other  end 
of  the  shaft  at  the  same  time  passing  inside  the  corresponding  treadle  /  without  operating  it. 
The  cam-shaft  now  begins  the  last  quarter  of  its  revolution.  The  roller  misses  the  treadle  /  on 
the  left-hand  side,  as  before  explained.  The  rollers  d' d'  depress  the  treadles  a  a  for  the  purposes 
before  described,  and  the  roller  g,  having  traversed  the  collar  e,  leaves  the  same  and  is  thrown  to 
the  right  by  the  springy,  thereby,  by  means  of  its  attached  levers  and  rod,  causing  the  swivel- 
shuttles  to  make  a  shot  from  left  to  right.  This  completes  one  revolution  of  the  cam-shaft,  and 
the  operation  is  repeated  as  often  as  may  be  desired  for  the  weaving  of  the  figure  or  pattern. 
When  it  is  desired  to  return  to  the  plain  weaving,  the  shaft  C  is  shifted  back  again  from  left  to 
right,  and  the  action  of  the  loom  is  then  the  same  as  that  first  described. 


Fig.  580. 


Combination  of  Weaves  for  Fabrics  Constructed  witii  Two 
Systems  of  Warp  and  One  System  of  Filling. 


Weaves  for  this  division  of  fabrics  are  obtained  by  the  combination  of  two  (or  more)  founda- 
tion or  derivative  weaves.    They  are  designed  for  three  purposes. 

1st.  For  using  two  systems  of  warp  and  one  system  of  filling  in  producing  double-faced 
fabrics,  such  as  ribbons,  etc.,  etc. 

2d.  For  using  an  extra  warp  as  backing  for  heavy-weight  worsted  and  woolen  fabrics. 

3d.  For  figuring  with  an  extra  warp  upon  the  face  of  a  fabric  otherwise  interlaced  with  its 
own  filling  and  warp. 

Two  Systems  of  Warp  and  One  System  of  Filling  for  Producing  Double-faced  Fabrics. 

These  weaves  are  largely  used  in  the  manufacture  of  ribbons  and  similar  fabrics  used  for 
trimmings,  in  which  one  side  of  the  fabric  has  to  be  of  a  totally  different  color  from  the  other. 
Such  fabrics  (mostly  of  silk)  require  a  great  many  ends  in  the  warp,  as  only  one-half  or  two- 
thirds  will  form  one  side  of  the  fabric;  the  remaining  half  or  one-third  forming  the  other.  In 
addition  to  the  difference  in  color  for  each  side  we  can  also  change  the  quality  of  the  stock,  or 
the  nature  of  the  stock  itself ;  hence  we  may  use  a  finer  quality  of  stock  for  one  side  (the  face), 
and  a  lower  quality  of  stock  for  the  other  (the  back) ;  and  again  we  may  use  silk  for  one  side 
(the  face)  and  cotton  for  the  other  (the  back). 

In  selecting  weaves  for  these  fabrics,  we  generally  use  the  combination  of  a  regular  satin 
weave,  warp  for  face,  with  its  corresponding  satin-weave,  filling  for  face.  Technically  we  classify 
the  warp  which  shows  on  the  upper  side  of  the  fabric  as  the  "  face-warp,"  and  its  mate,  or  the 
warp  formmg  the  lower  side  of  the  fabric,  as  the  "  back-warp."  As  mentioned  at  the  beginning, 
only  one  system  of  filling  is  used  for  interlacing  both  systems  of  warps. 

In  combining  both  warps  into  one  fabric  in  this  way,  it  is  necessary  to  observe  the  following 
Rule :  The  raising  of  the  backing  warp  over  the  filling  must  always  be  done  at  a  place  in  which 
two  face-threads  raise  next  to  it  (one  on  each  side  of  the  backing  warp  as  raised).  Diagram 
Fig.  581  is  designed  to  illustrate  this  method.  Three  warp-threads  and  four  picks  are 
represented. 

Warp-threads  i  and  3  illustrate  the  face  warp ;  warp-thread  2  represents 
the  back-warp. 

In  examining  the  latter  warp-thread,  we  find  its  point  of  interlacing 
with  the  filling  situated  in  pick  2. 

Face  warp-threads  i  and  3  are  also  raised  on  pick  2,  as  required  by  the 
rule  (given  before)  for  combining  both  systems  of  warps.  A  careful  exami- 
nation of  the  diagram  will  show  a  second  point  possible  for  perfectly  inter- 
secting the  back  warp-thread  (number  2)  into  the  filling  at  pick  number  3. 
Picks  I  or  4,  if  used,  would  produce  imperfectly  stitched  places,  as  in  the 
first-mentioned  spot  face  warp-thread  3  is  down,  and  in  the  latter-mentioned 
spot  face  warp-thread  i  is  down.    To  give  an  illustration  of  these  weaves  Fig.  581. 

Figs.  582,  583  and  584  have  been  designed. 

Weave  Fig.  582,  repeat:  8  warp-threads  and  4  picks,  has  for  its  foundation  the  combination 
of  the  4-harness  broken-twill,  warp  up  for  face  (■),  and  the  4-harness  broken-twill,  filling  up  for 
back  (n).  The  arrangement  of  the  warp  for  face  and  back  in  this  weave  and  weaves  Figs.  583 
and  584,  is  one  end  face  to  alternate  with  one  end  back. 

(114) 


Tst  warp-thread. 

2d  warp-thread. 

3d  warp-thread. 

■ 

4th  pick. 

■ 

■ 

3d  pick. 

■ 

• 

M 

2d  pick. 

■ 

1st  pick. 

115 

Weave  Fig.  583,  repeat:  10  warp-threads  and  5  picks,  has  for  its  foundation  the  combi- 
nation of  the  5-harness  satin,  warp  up,  for  face  (■),  and  the  5-harness  satin,  fiUing  up,  for 
back  (a). 

 ■r:B~B  ■□■^■T  fHCB^B^B^B  ■□■T 

■  B  acB.     b::b  b  b  bi 

a""         m'  I  b:}b  :i  sHnBrnoaQBnaDaacjnRaan  aca:'  a  a  b:3b  a : 

\   a^B  ..a     vcM  m2  aQa'~a'~a^;"'^aE:aLa':aDaa  acr'' a^-^a  a  a  b  bi 

a  a    .jmvm  a      as  a      B:}a  a  a    '  bdbvsu  a  a  a  a  b  a  aa 

■□a  a      aL:a  a  :  :j  a  b  b      b:;b  a  a     :be]  a  a  a  bgb  a  a  : 

la  ^-BEia  .a  asa^  i^^bl:b-B  .a  ^^a:^a_a^BQ  i^.^aca  a  a  a.  a  a^ 

1  5  lli  1  111  20  1  !li 

Fig.  582.  Fig.  583.  Fig.  584. 

Weave  Fig.  584,  repeat:  16  warp-threads  and  8  picks,  has  for  its  foundation  the  combi- 
nation of  the  8-harness  satin,  warp  up  for  face  (■),  and  the  8-harness  satin,  fiUing  up  for 
back  (n). 

In  the  same  manner  as  these  three  examples  of  weaves  are  arranged  for  explaining  the 
present  system  other  combinations  of  satins  or  twills  can  be  designed. 

Using  an  Extra  Warp  for  Backing  for  Heavy-weight  Worsted  and  Woolen  Fabrics. 

These  weaves  are  used  to  obtain  a  thickness  of  the  fabric  by  using  a  lower  stock  for  the 
back,  as,  for  example,  a  wool  back  for  worsted  goods. 

They  may  be  designed  with  one  of  the  following  arrangements  for  the  warp: 
I  end  face.  2  ends  face.  i  end  face. 

1  end  back.  i  end  back.  I  end  back. 
-                          -                  •          2  ends  face, 

2  ends  repeat,  or      3  ends  repeat,  or       I  end  back. 

5  ends  repeat, 

or  any  other  similar  arrangement. 

In  stitching  the  back  warp  to  the  face  fabric  it  is  necessary  to  observe  the  following 
points : 

1st.  The  backing-warp  has  to  be  raised  over  the  filling,  in  every  instance,  between  two  face- 
ends,  so  that  the  face-threads  will  afterwards  cover  the  backing  ends.  Should  we  have  to  deal 
with  any  face-weave  in  which  only  one  end-warp  raises  at  the  time  (satins  filling  up)  we  must 
raise  the  backing-warp  near  this  one  end-face,  either  to  the  right  or  left  hand. 

2d.  We  must  select  for  the  backing  a  weave  as  regular  as  possible,  such  as  satin-weaves, 
broken-twills,  etc.,  so  that  every  warp-end  gets  the  same  amount  of  binding  and  therefore  of 
tension. 

3d.  If  there  are  more  intersections  of  the  face-warp  with  the  filling  (in  a  certain  number  of 
picks)  than  intersections  with  the  back-warp  (in  the  same  number  of  picks  as  before)  we  must  work 
each  warp  from  a  separate  beam.  The  face-warp,  if  intersecting  oftener  than  the  back-warp  (on 
the  same  number  of  picks)  requires  more  material  ("takes  up  more")  than  the  less  intersecting 
back-warp. 

Two  warp-beams  must  also  be  used  if  the  material  for  the  face  and  back-warp  is  of  a  different 
nature,  such  as  wool  and  cotton  or  worsted  and  wool  spun  yarn,  etc.  The  number  of  intersec- 
tions of  face  and  back-warp  in  such  a  case  can  be  equal. 

4th.  If  using  the  arrangement  "  one  end  face-warp  to  alternate  with  one  end  back-warp," 
never  use  a  heavier  size  of  warp-yarn  for  the  back-warp  than  you  use  for  the  face-yarn.  Such  a 
selection  will  prevent  the  back-warp  from  showing  upon  the  face.  If  using  "  two  ends  face  to 
alternate  with  one  end  back,"  a  proportionally  heavier  yarn  can  be  used  for  the  back-warp. 
Great  care  must  be  exercised  in  selecting  the  stock  for  the  face-warp  and  back-warp  for  fabrics 
requiring  "fulling"  during  the  finishing  process.    The  material  in  the  back-warp,  which  can  be  of 


116 


a  cheaper  quality,  must  have,  as  nearly  as  possible,  the  same  tendency  for  fulling  as  the  "stock" 
which  is  used  in  the  face-warp. 

In  selecting  the  weave  for  the  back-warp,  we  should  be  guided  by  the  required  appearance  of 
the  face  in  the  fabric.  For  example,  a  twill-weave  can  be  used  for  the  interlacing  of  the  back-warp 
if  the  face-weave  is  a  prominent  twill.  If  the  face-warp  is  interlaced  into  a  twill  of  short  repeat,  as 
?  J  3-harness  twill,?  ^  4"harness  twill,  etc.,  etc.;  or  if  the  face-warp  interlaces  on  a  plain- 
weave,  rib-weave,  basket-weave,  granite-weave,  etc.,  etc.,  thus  showing  small  broken-up  effects  upon 
the  face  of  the  fabric,  a  satin-weave  must  be  used  for  the  interlacing  of  the  back-warp.  In  woolen 
fabrics  requiring  fulling,  the  back-warp,  by  reason  of  its  lesser  amount  of  intersection  as  compared 
with  the  face-warp,  is  apt  to  show  by  impressions  the  points  of  intersecting  of  the  back-warp  on  the 

ennnDBDBanaanBBBD  snoDnKiBamDnBHBD  sDOB^B-ii  "  -■oBaaa  sGDHnacB^  -^m^mnuo 

□□■□■□□□□□■HBona  □□■aBanonaBCBGaa  mem  m      m  ■□■□on  ■□■nar,  cm  m  -m  -.on 

uom'' n~r''mnm~nnna  mom""-'^"  mam^'-rinu  mm      m  m::m   ''mo  mrm'rcrm'  mcMn 

mci-      mim  '       'ma  W'.'       ■  ■  ■      ■            m  ma  ■  ■  ■      m  ma 

a?                  ■  □□                  ■  ■□  ->    ■  m::m      m  m  mj  □□■  mam      m  m  a.n 

□lb:2b         ■  ■  DCM  m    ,  .    mv.m  .  a  m            ■  ■  '■  jG  aca  ■      ■  j 

jg                m^m   ■  ^jiG                      .  .  ■  ■         ig  ma 


T  IB  1  16  1  8  re  T 

Fig.  585.  Fig.  586.  Fig.  587.  Fig.  588. 


face  cloth.  For  this  reason  a  twill-weave,  which  is  used  for  interlacing  the  back-warp,  might  possi- 
bly show  its  lines  of  impressions  running  over  the  face  of  the  fabric,  whereas  if  a  satin  is  used  in  the 
present  example  for  interlacing  the  back-warp,  the  impressions,  if  visible  on  the  face  of  the  fabric, 
will  be  well  distributed  and  harmonize  in  every  respect  with  the  weave  used  for  the  interlacing  of 
the  face-warp. 

Weave  Fig.  585  illustrates  what  might  be  called  an  imperfect  combination.  The  ?  2  4-har- 

ness  twill  forms  the  face  upon  every  alternate  warp-thread;  the  ^-  ^  8-harness  twill,  the  weave 

for  the  back-warp.    It  will  readily  be  seen  that  the  repeat  of  the  8-harness  twill, 

taken  in  equal  proportions  with  the  ^  ^  twill,  will  require  tw^o  repeats  of  the  latter.  The 

interlacing  of  the  back-warp  into  the  face-twill  will  thus  only  occur  with  every  other  face-twill, 
and  proportionally  make  every  other  face-twill  appear  more  prominently. 

Weav^e  Fig.  586  illustrates  a  perfect  selection  of  weaves,  the  ?  „  4-harness  twill  forming  the 

face  upon  every  alternate  warp-thread  with  the  8-harness  satin-weave  (filling  for  face)  as  the  weave 
for  the  back-warp.  A  careful  examination  of  this  weave  will  show  the  method  of  perfectly  com- 
bining the  back-warp  with  the  face  fabric  by  stitching  the  former  alternately  (exchanging)  into 
each  twill  line  of  the  two  repeats  of  the  4-harness  twill,  forming  one  repeat. 

Repeat  of  weaves  Figs.  585  and  586  is  16  warp-threads  and  8  picks. 

SQOnaCG:/   ■  BG  ecOBBCBBG  snODDBnHODQBHBDaa  saaDBBOBH  SDDnQDBHnDBaBGnDGDBBnGHaB 

■    JG  ■□■■□□GH  ■GaDBBBDnDDDaOBG  ■□□GBBGH  ■□QaaGBGBGGBBGnGGDBCBGQB 

nGGGBa»a»        jJG  ■ — ^gbb-^b  mrnnr^rrrm''m2a~mvi  GBBnaBOG  □GMnnBaB''^GG:GBBGrnBHBGaa 

□aBGBBBGBujJUGGG  GBB   ■■    1  □□■   ■  T  GO'"  ■  m'm  BBUG 

■GaaBGBGGaaGGDGG  r  ■■      ■■  □□■:)■  ■  bg  ■  ■  mv.m         mm  .  '?m 

■aaaBGGGQGGaaGHG  ■■  ■■  or       ■  ■      mama  ■■  ■■  ~   j  ■  ■  ■  ■    ■■  gg 

■GBGGGGGGGGGBGaa  ■■   .J  mzM  .    MUM        .  JG  ■■    ,Mm2  ■■  mam_  

IBGUaaaDGGaBaBaBa  IBBGJGBBG  lBaB_G^^J^^B_BuGG  IUBBGGGBB  lQaBB_-'_  GB^«L.i_*B.^GU^GBGB 

16  1  8  1  16  I  8  T  la  24 

Fig.  589.  Fig.  590.  Fig.  591.  Fig.  592.  Fig.  593- 

t 

Weave  Fig.  587  illustrates  by  taking  ■  and  □  for  raisers,  ^  and  □  for  sinkers,  an  imperfect 
selection  of  weaves,  as  demonstrated  and  explained  by  example  Fig.  585. 

By  exchanging  the  8-harness  '  ^  twill  (back-weave)  in  Fig.  587,  to  the  4-harness  twill 

^  3  (■,  ■  Q  for  raisers,  □  for  sinkers),  we  produce  a  perfect  combination ;  the  back-warp 
interlacing  with  the  face  fabric  regularly  in  every  face  twill-line ;  thus,  if  producing  any 
impressions,  such  will  be  uniformly  visible. 

Repeat,  if  using  the  8-harness  ^  ^  twill  of  weave  for  back  warp  :  16  warp-threads  and  8 

picks  ;  if  using  the  4-harness  ^  3  twill  for  weave  of  back-warp  :  8  warp-threads  and  8  picks. 

Weave  Fig.  588  shows  a  perfect  combination  of  weaves,  the  ^  j  4-harness  twill  for  face- 
warp  and  the  ^  ^  8-harness  satin  for  back-warp.    Repeat:  16  warp-threads  and  8  picks. 


117 


Weave  Fig.  589  shows  another  perfect  combination  of  weaves.    The  ^  5  8-harness  twill  is 

used  for  the  face  and  the  ^  8-harness  twill  for  the  interlacing  of  the  back-warp.    Repeat:  16 

warp-threads  and  8  picks. 

Weave  Fig.  590  represents  a  granite-weave.    Repeat :  8  warp-threads  and  8  picks. 

Fig.  591  illustrates  the  combination  of  weave  Fig.  590  for  face-warp  with  the  8-harness 
satin  for  the  back -.warp,  face  and  back-warp  exchanging  alternately.  Repeat:  16  warp -threads 
and  8  picks. 

Fig.  592  represents  a  common  granite- weave  designed  for  8  warp-threads  and  8  picks  in  its 
repeat. 

Weave  Fig.  593  illustrates  the  latter  applied  as  a  backing  warp.    Repeat :  12  warp-threads 

and  8  picks.    Arrangement  of  warp  :  2  threads  face-warp  to  alternate  with  i  thread  back-warp. 

The  next  arrangement  for  combination  of  face  and  back-warp  is  found  in  i  end  face,  i  end 

back,  2  ends  face,  i  end  back  =5  ends  in  repeat. 

Weave  Fig.  595  is  constructed  in  this  manner,  and  has  for  its  face-  ^BBy'^S™"^" 

weave  Fig.  594  (repeat:  6-harness  and  6  picks).    Weave  Fig.  S9S  has      Sb-  ■''■2? 

'  for  its  repeat,  10  warp-threads  and  6  picks.  V- 

Fig.  594.  f     >  f  f  YiG.  595. 


Figuring  with  an  extra  Warp  upon  the  Face  of  a  Fabric  otherwise  interlaced  with 

its  Regular  Warp  and  Filling. 

This  method  of  combining  two  systems  of  warps  with  one  filling  is  extensively  used  in  the 
manufacture  of  textile  fabrics  devoted  to  women's  wear.    One  system  of  warp  and  the  filling  pro- 
duces the  ground  structure  of  the  fabric,  and  then  the  second  system  of  warp  is  employed  to 
□□□□□□□□□□□□□□□□□□□□□□□a  produce  the  figure  upon  this  ground  structure. 

B°HS8annBaaBRGnnBnR3BS38         As  a  peculiarity  of  this  second  system  of  warp,  we  mention 

^77:  i  j         it  is  only  visible  on  the  face  of  the  fabric  at  certain  places 

P.  ba  aa J ■^□uoddaj  (according  to  the  design),  while  at  other  times  it  is  made  to  float 

□□□□□□DaDaaLiDaaaaaaODma         ,     ,     ,        .       .    ,     ,  .  .  .,  , 

Fig.  596.  on  the  back  or  is  stitched  in  certain  places  not  visible  on  the  face. 

Weave  to  Longitudinal  Sec-         To  give  a  thorough  explanation  of  the  general  principles  in- 
tion.   Fig.  597.  volved  in  this  system,  Figs.  596  to  609  are  given. 

Fig.  596  illustrates  a  part  of  a  weave.  The  warp-threads  indicated  by  i  and  2,  shown  by  ■ 
type,  represent  two  ground  warp-threads  interlacing  into  the  filling  in  "  common  plain."  Warp- 
thread  indicated  by  3  and  shown  by  ■  type  represents  the  figuring  thread.  The  latter  is  8 
picks  down,  8  picks  up,  8  picks  down.  A  indicates  the  place  where  the  figure  warp  raises  on 
the  face  of  the  fabric,  and  B  indicates  the  place  where  the  former  returns  for  floating  on  the 
back. 


Fig.  597. 

(Section  corresponding  to  Fig.  596.) 

Examining  the  longitudinal  section,  Fig.  597,  we  find  the  same  numbers  and  letters  used. 
No.  I  warp-thread,  ground  fabric,  is  indicated  by  a  dotted  line  (■  in  the  weave). 
No.  2  warp-thread,  ground  fabric,  is  indicated  by  a  fine  line  (■  in  the  weave). 
No.  3  warp-thread,  the  figure-thread  is  indicated  by  a  heavy  line  (■  in  the  weave). 
Places  A  and  B  in  the  longitudinal  section  indicate  the  respective  places  marked  by  corres- 
ponding letters  in  part  of  a  weave  Fig.  596. 


118 


Fig-  598  illustrates  two  warp-threads  of  a  four- leaf  twill,  ground  fabric,  having  in  its  centre 

a  figure  warp-thread,  which  also  is  stitched  in  certain  places  to  the  ground  fabric,  but  so  that 

the  stitchings  are  not  visible  on  the  face. 

Warp-thread  No.  i  reads  2  picks  up,      1  ^  ^• 

^  .  ,  /  6  times  over, 

2  picks  down,  ) 

Warp-thread  No.  2  reads  i  pick  down,  ^  J-  Ground  threads. 

2  picks  up,      >6  times  over, 
I  pick  down,  j 

Warp-thread  No.  3  reads  i  pick  down, 

I  pick  up  (binder), 
4  picks  down, 

7  picks  up  (figure  effect  on  face), 

8  picks  down, 

1  pick  up  (binder), 

2  picks  down. 


□□□□□□□□□□^ 

aaacaanac- 

□□□Qnr.QLiL 
■□■an-pi«s':! 

' "  ■■■■■ 

■cm    Hi  ■    ;  i!J 

□  ^       ^  LCaaa"-  

□□□□□□□□□□□LjDaDaDQnDDDDO 


□□□□□□ 
j'Dziamna 


Letter  A  indicates  the  binding  at  pick  No.  2. 

Letter  B  indicates  the  raising  to  face  at  pick  No.  7. 

Letter  C  indicates  the  lowering  to  back  at  pick  No.  14. 

Letter     indicates  the  binding  at  pick  No.  22. 

Examining  the  longitudinal  section  Fig.  599,  we  find  the  same 
numbers  and  letters  used,  so  as  to  give  a  perfectly  clear  compre- 
hension of  the  matter. 

No.  I  warp-thread  is  indicated  by  a  dotted  line,  ground  fabric  (h  in  the  weave). 

No.  2  warp-thread  is  indicated  by  a  fine  line,  ground  fabric  (■  in  the  weave). 

No.  3  warp-thread  is  indicated  by  a  heavy  line,  representing  the  figure-thread  (represented  by 
■  in  the  weave). 


Fig.  598. 
(Weave  to  longitudinal  section 
F'g-  599-) 


Fig.  599. 

(Section  corresponding  to  Fig.  598  ) 

Places  marked  A  and  D  clearly  indicate  the  binding  of  the  figure-warp.  By  the  nature  of 
the  operation  the  same  is  pulled  down  below  the  ground  fabric  and  covered  by  the  two  warp- 
threads  nearest  to  it. 

B  represents  the  raising  of  the  figuje-warp;  ^7  represents  the  lowering  of  the  figure-warp. 

Fabrics  made  with  Loose  Texture  without  Binding  the  Figure. 

If  a  fabric  is  constructed  with  a  thin  or  loose  texture,  the  floating  warp-threads  are  apt  to 
show  through  on  the  face,  hence  the  latter  threads  have  to  be  cut  off  after  the  fabric  leaves  the 
loom.    In  this  case  a  second  point  has  to  be  considered: 

If  the  figure-thread  (No.  3)  as  shown  in  Figs.  596  and  597,  after  producing  the  figure  on  the 
face,  simply  passes  to  the  rear,  there  will  be  nothing  else  to  keep  the  figure-threads  upon  the 
ground  fabric  but  the  slight  pressure  of  the  ground-warp  upon  the  figure-warp,  at  the  place  where 
the  latter  intersects  the  former.    As  this  would  be  insufficient  to  enable  the  fabric  to  resist  the 


119 


least  wear  and  tear,  we  must  bind  the  figure-warp  close  into  the  ground  fabric  all  around  the 
edges  of  the  design.  The  best  weave  to  be  employed  for  this  purpose  is  the  "plain,"  which  by 
two  or  three  repeats  will  give  sufficient  strength  to  the  figure-warp  to  allow  it  to  be  cut  off  on  the 
back.    (Cut  not  too  close  to  the  place  of  binding.) 


□  □  ■  □  □ 
□  □  ■■■  □  □ 


L.a  a 
a  a  m. 


d: 

El 
Dl 

t'.D.-  ■■■■■■■( 

aa  ■■■■■■■■  □ 

[:□  □  ■■■■■■■  □  I 
□  □  ■■■■■  □  □ 

□  □  ■■■  □  □ 

-  -      -  a 


a  a  a.  a 


Fig.  600. 


Fig.  601. 


Fig.  600  is  designed  to  illustrate  this  point  in  general,  as  well  as  to  illustrate  a  second  point, 
in  which  this  binding  is  used  for  producing  a  second  effect  to  the  main  design  itself  In  the 
illustration  this  binding  forms  a  shaded  effect  around  the  main  design. 

This  binding  may  also  be  used  for  shading  in  floral  designs,  where  in  some  cases  the  colors 
have  to  appear  to  their  full  extent.  Some  cases  may  require  the  same  color  only  in  a  subdued 
form,  while  others  may  require  that  it  shall  be  scarcely  visible. 

To  get  these  effects  you  have  to  bind  your  figure-warp  into  the  ground  cloth  to  a  sufficient 
degree  and  in  such  order  as  is  required.  The  weave  must  be  selected  according  to  the  required 
effect,  whether  heavy  twills,  fine  twills,  satin-weaves  or  cotton-weave,  etc. 


□ 

•3 

m 

m 

m 

■ 

m 

innmn 

a 

an 

n 

•-1 

•1 

m 

nnn 

m 

m 

m 

n 

H 

U 

- 

m 

■ 

1 

■ 

a 

nrjD 

jB 

F 

ID 

C 

im 

P 

n 

L 

m 

■ 

■ 

11 

t 

L 

■ 

■ 

■ 

F 

□ 

I 

m 

la 

[ 

im 

r 

r 

■ 

■ 

■ 

n 

I 

m 

■ 

■ 

f 

L 

H 

L 

R 
r 

m 

■ 

■ 

t 

[ 
( 

■ 

m 

■ 

I 

1: 

r 

c 

■ 

■ 

■ 

(- 

r 

■ 

■ 

■ 

J 

M 

m 

JD 

L 

■ 

m 

■ 

■ 

■ 

■ 

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im 

P 

1  n 

C 

n 

1 

L 

■ 

■ 

■ 

a 

;   '  ijj^^ 

lJ 

a 

u 

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yLjj 

Fig.  602. 

Fig.  601  represents  a  sketch  for  a  design  which  is  practically  worked  out  on  the  □  designing 
paper  in  Fig.  602,  to  be  used  on  a  common  harness-loom  for  a  dress-goods  fabric,  produced  on 
two  systems  of  warp,  one  system  of  filling;  ground  fabric,  "plain;"  figure  as  formed  by  the  extra 
warp — circular  spots,  distributed  after  the  principle  of  the  five-leaf  satin. 

The  warp  is  arranged — 

I  end  ground,  1  _  .  •  , 

°  V  7  times  over,  14  ends. 

I  end  figure,  j 

I  end  ground,  i  end 

15  ends  in  one  repeat. 


120 


Fig.  603  illustrates  one  spot  (as  used  in  Fig.  602),  shown  without  the  ground-warp,  and  thus 
represents  the  spot  effect  as  visible  on  the  face  of  the  fabric. 

In  weave  Fig.  602  the  h  type  indicates  the  "raisers"  for  the  ground-warp,  the  ■  indicates  the 
effect  of  the  figure-warp  as  produced  upon  the  before-mentioned  ground-structure.  The  a  indi- 
cates the  additional  binding  of  the  figure-warp  to  the  ground-structure. 


Fig  603.  Fig.  604. 


As  mentioned  at  the  beginning,  the  plain  ground  fabric  is  not  always  used.  Very  frequently 
we  have  used  the  "twilled"  face.  For  this  reason  Figs.  604  and  605  are  designed,  representing  the 
sketch  of  the  fabric  and  the  weave.  The  arrangement  of  the  "  motive"  in  the  sketch  is  after  the  prin- 
ciple of  the  four-leaf  broken-twill.  The  weave  of  the  ground  fabric  consists  of  the  four-harness  (even- 
sided)  twill  ^-  g.    The  ■  in  Fig.  605  represents  the  ground  fabric;  the  ■  in  Fig.  605  represents 


■innB^iBllBananDDHDBDDnnDBGBnDmBaDBnDDnBPDBnDOODBDBaDDDDB 

■  ■     ■  ■"^^.■□■□□□□□■□■□ncrjCBnBBrHnHBnBDaDaDBDBuaDDDBaB 

■  ■  ■  ■  ■  ■acDDnDHDBacaaDBGBnDCDCMDBDnDDUPaBaDDnnBOBDa 

■  ■  ■  ■  ■  iBDDDnBDBGnnanianBDDnnnBaHaLnaDBaBaDDnaBQHaana 

 ^nnm«inftrT-r:nnRCBnDL]nDBDBDDDCnBDBDDDDaB 


□HaamaBniionDaDBL" 
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□■□■□□□□□■□■□onnaBCMnuDnDBGHDr" 

□■□□□□□■□■□□□□□■□■□□□□□■□■□□□C" 

□□□□n«ininnnnnn^a6!iDnnnni«nwnnnnKF' 

□Bar-;  —    ,  -  '  ■ 

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□■HBCuL-aGHHBaaDaaBaBaaaaaHLjaaG 


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■■■■■■  :aoam 

■  .^UBiCH 

■  _fc:_r-,  ;_.  .^BaBnn 

IjGBBBBBGGGHBDBCDQDDBQBODGD 


Fig.  605. 


the  figure  produced  upon  the  former;  the  a  indicates  the  additional  binding  of  the  figure-warp  to 
the  ground  structure. 

The  warp  is  dressed — 

I  end  figure, 

1  end  ground, 

2  ends  in  repeat. 

It  does  not  always  occur  that  only  one  color  is  used  for  the  figure-warp.    Very  often  differ- 


[  :  :. 

['.'''■■■■■■■■■:^^ 
('  aa:^ 
!  aaaaaaa:  aaa::l 
aaaaaaa - aaaaa 
■aaaaa'-  aaaaaa 
aaaaa  aaaaaaa 
(  aaa  aaaaaaai^ 
(  aa  aaaaaaaas 
I  aaBaaaaaa'':[3 
.  .aaaaaaB:':7:-[3 

LG.-iiGaBBZGGSEI 

Fig.  606. 


"'aa'  ~ 

ai 

.-.  -1 

:  BB 

a  1 

[  aa 

a  J 

aaaa 

Bl 

BB 

aaaa 

Bl 

BB 

aaaaa 

ai 

BB 

aaaaaa 

Bl 

Bl 

aa 

aaaaaaaa 

BBBI 

Bl 

r 

[/aaaaaaa 

aaai 

ai 

I'.aaaaaaa 

aaai 

ai 

B'-l 

['  '.aaaaaa 

aaai 

ai 

.  .aaaaa 

aaai 

a: 

i;::.G:-.GBaa 

aaa^::.;< 

Fig.  608. 


ent  combinations  are  employed;  but,  in  whatever  shape,  form,  quality  or  size,  the  principle  of  the 
construction  of  the  fabric  will  remain  the  same  as  if  only  one  color  should  be  used. 


121 


We  now  pass  to  fabrics  where  the  floating  of  the  figure-warp  is  omitted,  such  as  fabrics  in 
which  the  extra  warp  is  bound  to  the  ground  fabric.  In  constructing  fabrics  of  this  character 
the  "  plain  "  weave,  which  lias  been  used  so  extensively  in  weaves  previously  illustrated  for  inter- 
lacing the  ground  structure  of  the  fabric,  is  omitted. 

The  smallest  weave  which  can  be  used  for  the  present  purpose  is  the  3 -harness  - — — 
twill,  but  generally  the  4-harness  even-sided  twill  is  used  as  the  smallest  repeat  of  a  weave.  In 
this  manner  Figs.  606  and  607  are  constructed,  representing  a  motive  and  the  complete  weave  for 


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Fig.  607. 


a  figured  dress-goods.  The  motive,  Fig.  606,  calls  for  13  threads  in  warp  and  filling,  hence  the 
dressing  of  the  warp  for  weave  Fig.  607  calls  for 

I  end  ground  ]  13  times 

J  r         '  t  =26  ends. 

I  end  rigure,    J  over, 

15  ends  ground,  15 

41  ends  in  repeat. 

The  m  is  for  ground  warp,  the  ■  for  figure-warp,  and  the  a  represents  the  places  for  binding 
the  figure-warp  to  the  ground  structure.  This  stitching  is  done  with  the  regular  eight-leaf 
satin. 

Weave  607,  calling  in  its  complete  extent  for  82  ends,  can  be  reduced  by  cross-draw  to  30- 
harness. 

Fig.  608  represents  a  motive,  a  crescent,  arranged  in  Fig.  609,  for  96  ends  repeat.  The 
motive  calling  for  16  ends  for  figure,  will  necessitate  the  following  dressing  : 

I  end  figure,    1  16  times 

^  Grids 

I  end  ground,  J  over, 
16  ends  ground,  16 

48  ends  in  repeat. 


122 


Comparison  of  the  Si-ce  of  the  Materials  as  used  for  Ground-warp  and  Figure-warp. 

The  first  condition  required  by  the  figure-warp  is  to  prodiice  a  design  soHd  in  appearance  on 
the  ground  fabric.  To  produce  this  effect  the  texture  is  required  to  be  as  close  set  as  possible  ;  and 
the  figure-warp  must  be  made  of  sufficient  thickness,  so  as  to  cover  the  interstices  between  each 
other  as  nearly  as  possible.  The  general  arrangement  for  changing  ground  and  figure-warp  is 
the  alternate  arrangement  between  both  (i  and  i).  Again,  care  must  be  exercised  not  to  have 
the  ground-warp  of  a  heavier  size  than  is  necessary;  for  the  figure- threads  have  not  only  to  fill 
the  places  between  the  ground-threads,  but  also  to  cover  them  actually ;  hence  the  diameter 


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Fig.  609. 

of  the  figure-warp  must  equal  the  diameter  of  the  ground-warp,  plus  the  space  between  each 
ground-thread. 

Comparison  of  the  Twist  in  the  Materials  as  used  for  Ground-warp  and  Figure-warp. 

As  a  general  rule,  the  ground-warp  is  of  a  harder  twist  than  the  figure-warp.  The 
latter  is  generally  only  twisted  enough  to  weave  well.  There  are  two  reasons  for  this  arrange- 
ment of  the  twist.  I.  The  ground-fabric  has  to  stand  the  strain  inweaving;  hence,  must  be  of  a 
harder  arrangement  in  twist.  2.  The  figure-warp  has  to  cover  the  design ;  hence  the  loose  twist 
will  assist  in  this  work. 

Necessity  of  having  Tivo  Beams  for  Weaving. 

In  almost  every  case  in  producing  the  textile  fabrics  here  explained,  we  are  compelled  to  em- 
ploy two  beams,  one  beam  for  the  ground-vvarp,  one  beam  for  the  figure-warp.  The  reason  for  using 


123 

two  beams  is  found  in  the  difference  of  the  weave  (for  the  figure-warp  is  less  interlacing  than  the 
ground-warp)  as  well  as  in  the  difference  of  the  materials  used  for  ground-warp  and  figure- 
warp. 

Another  system  of  weaving  for  producing  figures  upon  the  face  of  a  single-cloth  fabric  is 
that  known  as 


Lappet  Weaving. 


Fig.  6io. 

This  method  of  producing  figures  upon  the  face  of  a  fabric  was  very  extensively  used  prior 
to  the  introduction  of  swivel  weaving  and  the  invention  of  the  Jacquard  loom.  The  method  of 
operation  in  this  system  of  weaving  is  that  of  passing  an  independent  set  of  threads  through  a 
series  of  needles  set  in  a  frame,  situated  between  the  reed  and  the  shuttle-raceway  of  the  lay. 
This  frame  is  arranged  so  as  to  slide  horizontally  to  and  fro,  regulated  by  the  "pattern-wheel," 
and  the  needles  are  depressed  at  proper  moments  to  allow  the  figuring-thread  to  interweave  with 
the  ground-cloth  by  passing  the  shuttle  and  its  filling  over  the  figuring-thread.  This  method  of 
interweaving  the  figuring-threads  is,  in  looms  of  older  construction,  arranged  to  have  the  needles 
which  guide  the  figuring-thread  operated  on  from  below,  as  is  illustrated 
in  diagram  Fig.  6io.  The  needles  a  (only  the  first  shown)  are  fixed  in 
the  guide-frame  b.  The  needles  have  a  thread,  c,  passed  through  the  eye 
d  near  their  point,  e  represents  the  reed,/ and  g  the  shed  formed  by  the 
warp  of  the  regular  cloth,  li  the  woven  part  of  the  fabric,  and  i  the 
shuttle. 

The  method  of  interlacing  is  as  follows:  When  frame  b  is  raised  the  needles  pass  through 
the  warp  at  the  rear  of  the  shuttle  i  and  guide-pins  but  in  front  of  reed  e,  so  that  by  inserting 
the  filling  by  means  of  the  shuttle  the  figuring-thread  gets  interlaced  with  the  regular  cloth 
structure.  Next  the  frame  guiding  the  needle  is  lowered  and  the  latter  moved  to 
the  right  or  to  the  left  as  required  by  the  design  to  be  produced.  This  hori- 
zontal moving  of  the  frame,  according  to  design  to  be  produced,  is  effected  by 
grooves  /  in  a  ratchet-wheel  m,  illustrated  in  Fig.  6ll.  The  pin  n,  fastened  to 
the  end  of  the  connecting  lever  o,  being  worked  alternately  from  side  to  side  of 
the  groove,  regulates  the  distance  in  moving  the  needles  for  the  figuring  effect 
required. 

This  method  of  operating  the  frame  which  guides  the  needles  requires  a  fresh  one  for  every 

new  design.  This  ratchet-wheel  moves  one  tooth  for  each 
pick,  and  the  number  of  teeth  it  contains  is  regulated  by  the 
length  of  the  design. 

Diagram  Fig.  6i2  clearly  illustrates  (enlarged  as  to  size 
of  threads)  the  method  of  interlacing  the  figuring-threads  into 
the  ground  structure.  The  figuring-thread  is  represented 
shaded,  ground  warp  and  filling  outlined. 

Fig.  613  is  the  same 
effect  arranged  in  3  repeats 
in  a  fabric  sample.  As 
previously  mentioned,  the 
frame  containing  the  needles 
for  guiding  the  figuring- 
warp  is  placed  in  some  attachment  to  these  looms,  situated  above  the  shed  formed  by  the  regular 
warp. 

Diagrams  Figs.  614,  615,  616,  617,  618,  619  and  620  illustrate  a  loom  and  the  method  of 


Fig.  611. 


Fig.  612. 


Fig.  613. 


124 


operation  for  lappet  weaving  as  extensively  used  in  the  manufacture  of  elastic  web  fabrics,  such 
as  suspender  webbing,  also  ribbons,  tapes,  and  narrow  goods  generally.  It  can  be  arranged, 
however,  for  wider  "figured"  fabrics.    This  loom  is  patented  by  Mr.  G.  H.  Hodges. 

Fig.  614  is  a  side  elevation  of  the  lathe  and  pattern-wheel;  certain  parts  of  the  lathe  being 
represented  as  broken  off. 

Fig.  615  is  an  end  elevation  of  the  lathe,  pattern-wheel  and  ratchet  mechanism  for  operating 
the  pattern-wheel. 

Fig.  616  is  an  elevation  of  the  pattern-wheel  detached,  showing  the  side  opposite  that  repre- 
sented in  Fig.  615. 


Fig.  614.  Fk;.  615. 


Fig.  617  is  a  sectional  view  representing  the  needles  elevated. 
Fig.  618  is  a  like  view  representing  the  needles  depressed. 

Fig.  619  is  a  front  elevation,  partly  broken  away,  of  a  lappet  loom  of  the  present  construction. 

Fig.  620  is  an  end  elevation  of  the  loom,  the  devices  for  connecting  the  needle-bars  with 
their  actuating  levers,  and  also  the  mechanism  for  actuating,  the  pattern-wheel  being  omitted  in 
order  to  avoid  confusion  and  to  better  illustrate  the  features  shown  in  this  figure.  Like  letters 
of  reference  indicate  corresponding  parts  in  the  different  figures  of  the  drawings,  c  represents 
the  figuring-threads ;  U,  the  woven  fabric;  A,  the  lathe;  B  B,  the  pendulous  arms  by  which  the 
same  is  suspended;  C,  the  shuttle;  D,  the  shuttle-race;  E,  a  section  of  the  reed. 


Fig.  616.  Fig.  617.  Fig.  618. 


The  web  U  is  ornamented  by  means  of  threads  c,  which  pass  from  spools  (not  shown) 
mounted  on  the  loom  through  the  guides  and  thence  respectively  through  the  eyes  of  the  needles 
d  m  and  into  the  web. 

Guards  are  employed  to  prevent  the  needles  from  being  sprung  or  drawn  out  of 
proper  position  by  the  strain  on  the  threads  c  during  the  process  of  intersecting  the  same 
in  the  fabric.  These  guards  consist  of  rigid  wires  arranged  horizontally  in  front  of  the 
needles  near  the  upper  portion  of  the  reed  and  firmly  secured  at  either  end  to  a  fixed 
portion  of  the  lathe  or  shuttle  race  in  such  a  manner  that  when  a  needle  is  bent  a  trifle 


125 


outwardly  or  toward  the  front  of  the  lathe  by  the  action  of  its  thread  it  will  strike  one  of  the 
guards,  the  vertical  movements  of  the  needle  not  being  interfered  with  thereby.  The  needles 
work  vertically  and  pass  through  the  unfilled  warp-threads  between  the  path  or  race  of 
the  shuttle,  the  reed,  the  pattern-wheel  and  needles  swinging  with  the  lathe.  Lateral  movements 
of  the  needles  in  one  direction  or  to  the  left  are  caused  by  drawing  up  the  horizontal  arm  of  the 
lever  L  by  means  of  the  rod  k,  thereby  bringing  the  vertical  arm  of  this  lever  into  contact  with 
projections  on  the  pawls  causing  the  latter  to  engage  the  teeth  and  slide  the  bars  or  holders  H J 
to  the  left,  the  reverse  lateral  movement  of  the  needles  to  the  right  being  caused  by  the  action  of 
the  springs  K  when  the  vertical  arm  of  the  lever  L  is  withdrawn  from  the  projection  i  by  depres- 
sing the  rod  The  clamp  /  is  returned  to  its  normal  position  after  the  vertical  arm  of  the  lever 
L  is  withdrawn  by  means  of  the  springs  g"^,  its  movement  toward  the  right  being  arrested  by  the 
stop  g^,  which  determines  the  oscillation  of  the  socket When  the  vertical  arm  of  the  lever  L 
is  withdrawn  from  the  projections  on  the  pawls  and  strikes  the  curved  arms  of  the  pawls,  the 
pawls  are  thereby  disengaged  from  the  teeth  on  the  bars  H J,  permitting  said  bars  to  be  forced 


Fig.  619.  Fig.  620. 


by  the  springs  K  against  their  respective  pins  in  the  wheel  Q\  but  as  the  pins  are  of  unequal 
lengths  one  of  the  bars  will  travel  toward  the  right  a  greater  distance  than  the  other,  thus  chang- 
ing the  relative  position  of  the  needles  d  in  with  respect  to  the  web  E.  It  will  be  obvious,  how- 
ever, that  when  the  vertical  arm  of  the  lever  L  strikes  the  projections  on  the  pawls  both  the  pawls 
will  be  caused  to  engage  the  bars  simultaneously  and  both  move  in  unison  to  the  left. 

In  order  to  more  clearly  understand  the  method  of  intersecting  the  threads  c  in  the  web  U, 
and  thereby  ornamenting  the  same,  the  operation  of  the  principal  parts  shown  during  one  full 
revolution  of  the  main  driving-wheel  of  the  loom,  or  one  complete  traverse  of  the  lathe  is 
described.  The  lathe  being  at  the  front  of  the  loom,  the  shuttle  at  the  right-hand  side  of  the 
fabric,  and  the  needles,  needle-bars,  and  pattern-wheel  elevated,  with  the  needles  threaded,  and 
the  bars  against  their  respective  pins  in  the  pattern-wheel,  if,  now,  the  loom  is  started  up  the  lathe 
will  be  moved  or  swung  back  from  the  breast-beam,  and  at  the  first  quarter  of  its  traverse  the 
needles,  needle-bars  and  pattern-wheel  will  be  lowered,  and  the  needles  carrying  their  threads 
will  pass  through  the  warp-threads  and  remain  down  while  the  lathe  passes  through  the  second 
and  third  quarters  of  its  traverse.    After  the  lathe  has  passed  through  the  first  quarter  of  its 


126 


traverse,  and  while  it  is  making  its  second  and  third  quarters  the  shuttle  is  passed  from  right  to 
left  of  the  web,  completing  its  passage  at  about  the  centre  of  the  third  quarter  of  the  traverse  of 
the  lathe.  The  needles  begin  to  rise  as  the  lathe  enters  upon  the  fourth  quarter  of  its  traverse, 
their  upward  movement  being  completed  before  the  lathe  completes  its  fourth  or  last  quarter. 
The  lathe  then  continues  to  advance  to  the  front  to  beat  up  the  filling,  and  while  completing  the 
fourth  or  last  quarter  of  its  course  the  lever  L  is  actuated  through  the  rod  k,  and  the  needles 
carried  to  the  left,  after  which  the  pattern-wheel  is  revolved  one  notch  or  step  to  change  the 
position  of  its  pins  with  respect  to  the  bars  or  holders  H  J,  after  which  the  lever  L  is  withdrawn 
from  the  projections  of  the  pawls  and  striking  the  arms  of  the  pawls  disengages  them  from  the 
bars  H  J,  and  permits  the  springs  K  to  move  the  bars  to  the  right  into  contact  with  the  pattern- 
wheel,  and  thereby  change  the  position  of  the  needles  preparatory  to  repeating  the  operation. 
The  needles  ^/are  secured  to  the  needle-bar  or  holder  Hhy  a  screw-clamp,  and  the  needles  in  in 
the  bar  /  by  screws  ;  but  any  other  suitable  means  may  be  employed  for  this  purpose.  Any 
desired  number  of  needles  and  needle-holders  may  also  be  employed. 

Mr.  Hodges  in  his  patent  further  mentions  that  "  instead  of  using  the  rows  of  pins, 
annular  cam-shaped  flanges  may  be  employed  on  the  wheel  Q,  against  which  the  bars  H  J  may 
abut,  if  desired. 

"  The  movements  of  the  needles  ma\'  be  so  timed  as  to  cause  them  to  work  '  pick-and-pick,' 
or  pass  through  the  warp-threads  at  each  throw  of  the  shuttle  or  otherwise,  as  desired.  The 
pawls  and  lever  L  afford  a  convenient  means  for  locking  the  bars  H  J  together,  and  moving  them 
away  from  the  pattern-wheel  conjointly. 

"A  proper  tension  and  take-up  mechanism  (not  shown)  must  be  used  with  each  of  the 
threads  c. 

"  But  one  shuttle  and  one  reed  are  shown  in  the  drawings,  but  it  will  be  understood  that 
•  several  may  be  employed  in  the  same  loom  ;  also,  that  one  or  more  needles  may  be  employed 
with  each  shuttle  and  reed  as  desired. 

"  It  is  preferable  to  have  the  threads  carried  by  the  needles  of  a  different  color  or  colors  from 
those  composing  the  warp  and  filling  of  the  fabric ;  also,  that  in  commencing  the  weaving  the 
needle-threads  should  be  drawn  some  distance  through  the  eyes  of  the  needles,  in  order  that  the 
loose  ends  of  the  threads  may  be  caught  and  secured  in  the  fabric  by  the  filling." 

TRICOT  WEAVES. 

Under  the  general  name  of  tricot  are  classified  fabrics  presenting  rib-effects.  The  weaves  of 
the  tricot  fabrics  are  more  or  less  elastic,  according  to  the  uses  to  which  they  are  to  be  put.  If, 
for  example,  the  stuffs  are  to  be  used  for  trousering  the  tricot  weaves  will  be  much  le.ss  likely  to 
bag  at  the  knees  than  other  fabrics.  If  used  for  ladies'  dress  goods,  cloakings,  etc.,  they  will  tend 
to  give  the  garment  a  nicer  and  closer  fit  to  the  person  of  the  wearer. 

Tricot  weaves  are  graded  into  tricots  forming  rib-effects  in  the  direction  of  the  filling  and 
tricots  forming  rib-effects  in  the  direction  of  the  warp.    We  will  consider  the  former  first. 

Tricots  with  Rib-Effects  in  the  Direction  of  the  Filling 

Are  employed  largely  for  stuffs  for  dress  goods,  cloakings,  overcoatings,  suitings,  etc.  The 
arrangement  of  the  weave  most  frequently  employed  is  2  picks  face  and  2  picks  back ;  but  this 
may  be  changed  to  i  pick  face  and  i  pick  back,  or  to  2  picks  face  and  i  pick  back,  according  to 
the  size  of  the  rib  required  in  the  fabric.  As  a  general  rule,  the  heavier  the  back  filling  used, 
the  more  prominent  the  rib-effect  will  be. 

Fig.  621  is  the  4-harness  (filling)  tricot  weave,  2  picks  for  face  to  alternate  with  2  picks  for 
back.  Repeat:  4-harness,  straight  draw,  8  picks.  This  weave  has  for  its  foundation  the  4-har- 
ness broken-twill,  2  picks,  warp  up,  to  alternate  with  2  picks,  filling  up. 


127 


Fig.  622  is  the  3 -harness  (filling)  tricot  weave,  2  picks  for  face  to  alternate  with  2  picks 
for  back.  Repeat:  3-harness,  straight  draw,  12  picks.  This  weave  has  for  its  foundation  the 
3-harness  twill,  2  picks,  warp  up,  to  alternate  with  2  picks,  filling  up. 


HHBDfflHHQ 


 JQ 

■  :2:j«  .',1 


Fig.  621. 


mm  mm  1 
cffiffl  am 
r  ■  ■ 
cm  mj 


aa.  EC  : 
■  1 

m  1 

BE . ea J 
□aa: BH 


a  affl 

BB.IjBaG 


Fig.  622. 


□BBSDEBBB 

BB  Baa  "a 

L«        ■  1 

a  EBB  aa 
cm  ■  J 
Baa  EBB  ; 
■  ■ 

c  aaa  asa 
L     ■     .  ■ 

Be  BBS  a 


Fig.  623. 


Fig.  623  represents  the  4-harness  (filling)  tricot  weave,  i  face  pick  to  alternate  with  a  backing 
pick.  4-harness,  straight  draw,  8  picks,  repeat  of  pattern.  This  weave  is  composed  of  the 
4-harness  broken-twill. 

Fig.  624,  4-harness  (filling)  tricot  weave,  2  picks  face  to  alternate  with  i  pick  back.  Repeat: 
4-harness,  straight  draw,  12  picks.  In  designing  this  weave,  observe  the  following  rule:  The 
warp-thread  which  is  lowered  in  the  back  pick  must  be  raised  in  the  next  following  face  pick. 

Tricots  Forming  Rib-Effects  in  the  Direction  of  the  Warp. 

This  division  of  tricot  weaves  includes  an  endless  variety  of  effects  in  trouserings,  suitings, 
etc.,  both  in  wool  and  worsted  goods.  A  few  ends  of  the  regular  warp  twisted  over  with  organ- 
zine  silk,  or  a  few  fancy-colored  threads  of  worsted  wool  or  sewing  silk  spread  over  the  fabric 
(on  warp  ends  showing  on  the  face)  will  give  good  effects. 

Fig.  625,  8-harness  warp,  tricot  weave.  Repeat:  8-harness,  straight  draw,  4  picks.  Harness 
I,  3,  5  and  7  are  for  the  face,  and  hence  the  harness  where  the  fancy  end  has  to  be  drawn  on. 


 \  jfflffl 

□fflfflB3Bffla 
ISBHfflnBBffla 


Fig.  624. 


4HDBa 


Fig.  625. 


□CB 

a 

a 

B 

B 

B 

a 

^^B 

B~~ 

as 

■BB 

■I 

BB 

B 

a 

a 

a 

a 

JQ 

□  .  B 

a 

a 

a 

s 

a 

a 

B 

a 

BG 

as 

■BB 

BE 

B 

a 

B 

a 

a 

a 

a 

;g 

Fig.  626. 


BBBBa  as 
or  a  ~a  ~aa 

BEB  BEBB 

 a. 


8B  EBEBEB 

■;  aa    a  1 

BBBEB  aa 
c:  a  a  aa 
aaa  bees 
■BB  a 

BBEEEBB 1 


Fig.  627. 


Fig.  626,  1 2-harness  warp,  tricot  weave.  Repeat:  12-harness,  straight  draw,  4  picks.  Harness 
I>  3>  5)  7>  9        1 1  are  for  the  face,  hence  for  the  fancy  ends. 

Sometimes  we  have  to  make  these  long  tricots  extra  heavy,  which  may  be  done  by  adding 
an  extra  backing  pick  every  alternate  pick.  Fig.  627  is  an  example.  Repeat:  8-harness,  straight 
draw,  8  picks. 

In  Fig.  628  a  specimen  of  a  tricot  weave  is  given  which  by  the  proper  arrange- 
ment of  its  texture  produces  a  fabric  containing  a  considerable  amount  of  elasti- 
city,  in  fact,  a  fabric  very  closely  imitating  what  is  known  as  "Jersey  cloth."  ■■ 

As  mentioned,  it  is  not  upon  the  weave  alone  that  we  must  depend  for 
imparting  this  elasticity  to  the  fabric.    The  result  also  follows  from  use  of  materials  for  the  yarns 


^BBBBB  a  aaaaa 
  BBBBB  a  aa 

■a  B  BBBBBG 
I . BBBBB  a  m 

 JBB  a^aaaaa 

■□a  .aaaaa^ajaa 

Fig.  628. 


128 


of  the  proper  "counts"  and  quality  and  upon  their  arrangements.  The  following  dressing  must 
be  used  for  the  previously  given  design ; 

2  threads  of  2-ply  cotton  (forming  after  finishing  the  body  of  the  fabric). 

2  threads  of  single  worsted  (forming  the  face  of  the  fabric  after  finishing). 

4  threads  in  pattern. 

The  fillings  to  be  fine,  soft,  single  worsted  (forming  the  back  in  the  fabric  after  weaving  and 
finishing). 

Both  kinds  of  warp  will  be  visible  on  the  face  after  weaving,  but  during  the  changes  the 
fabric  undergoes  in  finishing  the  cotton  warp  will  disappear  from  the  face,  taking  its  place  in  the 
body  of  the  fabric. 

These  fabrics  must  be  made  very  wide  in  the  loom.  Thus,  in  the  case  of  a  54-inch  finished 
fabric,  the  goods  must  be  woven  92  to  100  inches  wide  in  the  loom,  according  to  the  texture  and 
quality  of  the  material  used.  (Fabrics  made  with  weave  Fig.  628  require  the  selvages  to  be  sewed 
together  when  they  are  fulled.) 


Double  Cloth. 


Under  double  cloth  we  comprehend  the  combining  of  two  single  cloths  into  one  fabric. 
Each  one  of  these  two  single  cloths  is  constructed  with  its  own  system  of  warp  and  filling,  while 
the  combination  of  both  fabrics  is  effected  by  interlacing  some  of  the  warp-threads  of  the  one 
cloth  into  the  other  at  certain  intervals. 

The  objects  for  the  making  of  the  double  cloth  are  manifold.  Among  these  may  be  men- 
tioned: To  reduce  the  cost  of  production  for  heavy-weight  fabrics  by  using  cheaper  material  for 
the  cloth  forming  the  back;  to  increase  the  strength  of  certain  grades  of  fabrics;  to  increase  the 
bulk  of  a  fabric;  to  produce  double-faced  fabrics;  to  produce  fancy  effects  by  the  system  of  com- 
bining or  exchanging  both  single  cloths. 

As  mentioned  before,  a  separate  warp  and  filling  is  required  for  each  cloth,  and  so  likewise 
in  preparing  the  design  a  .separate  dealing  with  each  is  required. 

In  diagram  Fig.  629a  the  section  of  two  single-cloth  fabrics  is  shown. 


In  Diagram  Fig.  629/^  the  plan  of  two  single-cloth  fabrics,  situated  above  each  other,  is 
shown.  Warp-threads  2  and  4  and  picks  i  and  3  form  one  cloth  (shown  shaded),  while  warp- 
threads  I  and  3  and  picks  2  and  4  form  the  other  (illustrated  in  outlined  threads). 

Examining  the  section.  Fig.  629^,  and  the  plan  of  interlacing,  Fig.  62(^b,  it  is  found  that  each 
warp-thread  interlaces  with  its  own  system  of  filling,  and  thus  each  cloth  is  formed  independent 
of  the  other.  These  are,  with  a  few  exceptions,  such  as  seamless  bags,  etc.,  stitched  (or  combined) 
together  so  as  to  form  one  fabric. 

The  proportion  of  face  warp  and  face  filling  to  back  warp  and  back  filling  to  be  used  may  be 
as  I  end  face  to  i  end  back,  or  2  ends  face  to  i  end  back,  or  2  ends  face  to  2  ends  back,  or  3  ends 
face  to  I  end  back,  etc.,  etc. 

One  proportion  for  the  two  kinds  of  warp  and  a  different  proportion  for  the  two  kinds  of 
filling  may  also  be  used,  for  example: 

Warp  I  ^  ^"^^  ^^"^^  =  FillincT  /  ^  P''^^  ^^^^  =  >^ 

I  I  end  back  =      back,  I  i  pick  back  =  i/^  back, 

3  ends  in  repeat.  2  picks  in  repeat,  etc.,  etc. 

As  mentioned  before,  the  stitching  has  to  bind  these  two  single-cloth  fabrics  together,  in  fact, 
to  unite  the  same  into  one  fabric.  The  warp  of  the  bottom  fabric  may  have  to  bind  into  the  face 
fabric,  or  the  face  warp  into  the  bottom  fabric.  In  both  cases  the  warp  of  the  one  has  to  inter- 
weave more  or  less  with  the  filling  of  the  other. 

(129) 


130 


In  fabrics  where  each  side  is  of  a  different  color,  and  the  color  of  the  face  fabric  shall 
not  disturb  the  back,  nor  the  color  of  the  back  cloth  the  face,  great  care  must  be  exercised  in 
the  manner  of  combining  both  cloths.  For  this  purpose  we  must  select  for  binding,  points  where 
warp  and  filling  interlace  less  frequently,  as  this  will  reduce  the  chances  of  the  thread  used  for 
interlacing  on  one  cloth  showing  upon  the  other. 

The  binding  of  both  cloths  into  one  fabric  also  has  an  influence  with  regard  to  the  feel 
(handling)  of  the  fabric,  for  the  oftener  we  combine  (stitch)  a  certain  number  of  ends  of  warp 
and  filling  the  harder  and  firmer  the  fabric  will  feel;  again,  if  not  sufficient  stitching  is  used  the 
fabric  produced  will  be  loose  or  spongy. 

The  amount  of  binding  for  both  cloths  can  only  be  learned  through  practical  experience,  yet 
the  rules  for  binding  are  the  same  for  wide  as  well  as  close-stitched  fabrics. 

Rules  for  Designing  the  Present  System  of  Double  Cloth. 

I  St.  Indicate  the  back  warp  and  backfilling  on  your  squared  designing  paper.  (At  you  r  first  few  exer- 
cises stripe  off  these  threads  with  a  light  color  so  as  to  readily  distinguish  one  from  the  others.) 

2d.  Put  the  tueave  for  the  face  cloth  upon  its  own  system  of  threads  (omitting  every  backing  thread 
as  if  it  were  not  in  the  design). 

^d.    Put  the  weave  for  the  lower  cloth  (back  cloth)  upon  its  own  system  of  threads. 

^th.    Raise  all  the  face  warp  on  every  backing  pick. 

§th.    Combine  both  single  cloths,  thus  far  constructed  separately,  into  one  fabric. 

Observe  the  following  rules  in  combining:  The  places  for  combining  both  fabrics  must 
be  distributed  as  regularly  as  possible  over  the  entire  fabric.  Select  the  amount  of  binding  for 
the  two  cloths  according  to  the  character  of  the  fabric  the  weave  is  designed  for. 

In  combining  the  two  fabrics  by  raising  the  back  warp  over  the  face  filling  at  certain  places, 
divide  the  arrangement  as  equally  as  possible  for  each  backing  thread.  If  in  certain  weaves  every 
backing  warp-thread  cannot  be  used,  arrange  the  omission  of  threads  uniformly,  such  as  every 
other  or  every  third  thread,  etc. 

In  combining  the  two  fabrics  through  certain  face  warp-threads  resting  in  the  lower  shed  of 
the  backing  pick,  observe  the  rules  given  for  the  back  warp. 

In  using  the  back  warp  for  binding  in  the  face  cloth  (as  is  generally  done)  the  back  warp- 
thread  must  be  arranged  to  rise  at  places  where  the  face  warp-thread,  situated  on  each  side  nearest 
to  it,  rises  at  the  same  time. 

It  is  advisable  to  have  the  raising  of  the  back  warp  into  the  face  fabric  arranged  to  occur 
immediately  before,  or  right  after,  the  same  back  warp-threads  have  been  or  are  to  be  raised  by 
the  weave  in  the  backing  cloth. 

In  using  the  face  warp  for  binding  in  the  lower  cloth,  select  for  points  of  stitching  spots 
(sinkers)  in  which  the  warp-thread  is  down  in  the  two  adjacent  face  picks. 

Be  careful  not  to  disturb  the  general  effect  of  the  face  cloth  by  arranging  perfect  points  of 

combinings,  but  in  wrong  places.    For  example:  Take  the  =  ^  4-harness  twill  for  face-weave. 

Suppose  one  repeat  of  the  back  fabric  requires  two  repeats  of  the  face-weave.  Requiring  a 
smooth  face,  and  one  face  twill  to  show  as  prominently  as  the  other,  the  stitching  must  be 
arranged  alternately  for  each  face  twill,  because  by  continuing  to  use  only  the  one  repeat  of  a 
twill  in  rotation,  this  twill  will  show  more  prominently  than  the  other. 

To  thoroughly  understand  the  foregoing  rules  for  designing  double  cloth,  a  study  of  Figs. 
630,  631,  632,  633,  634,  635,  636  and  637  is  advised.  They  represent  both  weaves  for  the  single 
cloths  and  their  principle  of  combining  until  the  weave  for  the  double  cloth  is  perfected.  Each 
rule  is  illustrated  in  successive  rotation  as  laid  down. 

Fig.  630  illustrates  the  4-harness  (^)  twill   ^,  designed  for  4  repeats,  warp  and  filling 

ways;  hence  for  16  warp-threads  and  16  picks. 


131 


Fig.  631  is  the  plain  weave  for  8  warp-threads  and  8  picks. 
Fig.  632  represents  one  repeat  of  the  8-harness  satin,  fiUing  face. 

In  giving  our  rules  for  designing  double  cloth  rule  i  calls  for  the  indication  of  the  two 
single-cloth  fabrics,  as  each  must  be  treated  separately  from  the  other. 

Fig.  633,  which  is  designed  for  illustrating  the  present  rule,  explains  itself  as  "  two  ends  for 
the  one  single  cloth  to  alternate  with  one  end  from  the  other,  warp  and  filling  ways."  This 
will  equal,  in  the  present  example,  2  ends  face  to  alternate  with  one  end  back. 


caa  ■■    ■■ J 

■  ■■  ■■ 

LIL'BB      ■■  ■■ 

■■    ■■  ; 

■■^'-.■B      ■■      ■■  J 

■■    ■■  ■ 

Dl  ■■  ■■  ■■  ■■ 
□■■    ■■  ■■  I 

■u  ■■       ■■  ■ 

□r^BB.  BB 
□BBU'^BBUGBB_i.  .BB  J 
■■□□■■□□BBDnBBCD 

1  lli 

Fig.  630. 


V. 

IB  . 


Fig.  631. 


1  8 

Fig.  632. 


HBt  j  1 

□■  ■  3 

om:  I 

■B.-i  ,  -1 

uv:  . 

□BL. 

■Hi,  1 

cm' 


,  ■■■■■■■■«■■■■■■■■■■■!!■■■ 
IDBmBDDBnaHDDBLlDBaDBQaBa 


Fig.  633. 


B  BB  BB  BB  B 

.  1 

,  I 

B'        '  BB  BB'  BB  'B 

I 

I--,,  ,  .  ■  ) 

■Ul       BB  BB  BB        <  'B 

□HCB   B        B   B        B   B        B  B 

■UK  ,  .  \i 

□■BB  ._.BB--J  i  :BB  ^  BBilj 
■BBLs^BuBL-iaCBSB^'H  ..BwB^tlD 

BBBBHMUBBBHBBBBlitaSHSaHB 

'■■□□■■■■caaBBasaaBBBGDHa 

Fig.  634. 


Fig.  634  illustrates  the  application  of  the  second  rule  as  given:  "  Put  iveav.e  for  tlic  face 
cloth  upon  its  oivn  system  of  threads."  In  this  example  the  4-harness  twill  shown  in  Fig.  630  is 
applied  for  face-weave  to  the  plan  "2  face  i  back." 

Fig.  635  illustrates  the  succeeding  rule  (3d)  as  applied  to  example.  Fig.  634.  "Put  the  7veave 
for  the  lower  fabric  upon  its  oivn  systems  of  tJireads!'  The  weave  selected  for  this  example  is  the 
one  shown  in  Fig.  631  (common  plain).  The  next  rule  (4th)  calls  for  the  raising  of  the  face  warp 
on  every  backing  pick.  This  is  illustrated  in  Fig.  636.  These  four  rules,  as  observed  thus  far 
and  illustrated  in  Fig.  636,  produce  two  separately  constructed  fabrics.  Two-thirds  of  the  number 
of  warp  and  filling-threads  form  the  face  cloth,  and  the  remaining  one-third  of  warp  and  filling 
form  the  lower  cloth.  Rule  5  calls  for  the  combining  of  these  separately  constructed  fabrics, 
either  by  using  the  back  warp  for  interlacing  with  the  face  filling  or  the  face  warp  with  the  back 
filling.    The  first  mentioned  method  is  used  in  the  present  example. 


Fig.  635. 


"m 

■n 

■ 

) 

1 

1 

[ 

1 

a 

1 

b" 

B 

a 

BB 

a 

a" 

a 

B 

Btl 

B 

B 

BB 

a 

i 

b" 

a 

a 

a 

a 

a 

a 

a 

B^_a 

B 

,_B 

B__ 

B 

B 

__B 

■  1 

B 

■  BB 

B 

B 

BB 

a 

j 

b'" 

B 

a 

a 

a 

a 

a" 

a 

bb" 

BB 

be" 

B 

a"  ] 

i 

■0; 

-  J 

sJBB 

1 

aa 

IB 

J 

■■ 

1 

24 

1 

24 

Fig.  636. 


Fig.  637. 


F'g-  637.  The  arrangement  for  combining  (stitching)  is  after  the  principle  of  the  8-harness 
satin  shown  in  fig.  632. 

In  designs  Figs.  630  to  637  the  character  of  type  used  for  each  figure  is  as  follows : 
■  indicates  the  weave  for  face  cloth. 
H  indicates  the  weave  for  back  cloth. 

ifi  indicates  the  arrangement  for  combining  both  cloths  for  the  double  cloth. 
B  indicates  the  back  warp  and  filling-threads  from  face  system. 
H  indicates  the  raising  of  the  face  warp  on  the  backing  pick. 


132 


The  next  thing  to  be  studied  is  the  relation  of  the  warp  to  the  filling  and  the  weave. 
If  both  cloths  (face  and  back)  are  equal  in  every  respect  (quality  of  stock,  counts  of  yarn, 
proportion  of  warp  and  filling  and  its  arrangement,  and  weave  used  for  the  face  and  back- 
cloth)  no  difficulties  need  be  experienced  in  designing  the  same.  But  on  the  other  hand, 
if  any  of  these  points,  as  mentioned,  differ  in  one  cloth  from  the  other,  great  care  must  be 
exercised. 

We  will  next  proceed  to  give  a  few  examples  of  different  kinds  of  double  cloth ;  also  com- 
plete explanations  of  them  from  their  foundation  to  the  complete  weave. 

In  the  following  examples,  Fig.  638  to  Fig.  688,  the  different  characters  of  type  used  give 
the  following  indications: 

=  the  weave  for  the  face-cloth. 
=  the  weave  for  the  back-cloth. 
'S    I  a  =  the  stitching  of  both  fabrics,  back-warp  into  face  filling. 

B  =  the  raising  of  face-warp  on  backing  picks,  as  required  for  forming  the  lower  cloth. 
Sinkers;  k      the  stitching  of  both  fabrics,  face -warp  into  the  back  filling. 

A.  Double-Cloth  Weaves  having  for  their  Arrangement  One  End  Face  to  Alternate  with 

One  End  Back  in  Warp  and  Filling. 

This  system  of  double  cloth  is  mostly  used  in  fabrics  in  which  the  quality,  size  and  weave  of 
the  two  cloths  (face  and  back)  is  nearly,  if  not  entirely  equal,  as  in  reversible  overcoating,  etc. 

■  "  '  ■  "m  "  S^Sa 

E  c:  :: 

■  ■  ■  BQao 

b:  □  :na 

ccm  m  m  ■>:-■  J 

emraannB                         sbh^^dbdob                        saaanaaaa                           Hht:  c;  aj 

□□□□□□□H  m3 

□□□□□□HQ                           B"::  ::  c;  KB 

□□□ODBDn                         ■:     ■  B^'B 

□□□□fflDDD                           B  aa 

□  ■  ■  ■  0 

□□anaaaa                         B.-:::t-ja  a.  aa 

mmm  m.j  iiiiiaa_.._t4._,_,  iDBacDGaa  iB:;BaB„_:c  ■_^n 

18  IS  18  1  10 

Fig.  638.  Fig.  639.  Fig.  640.  Fig.  641. 

Fig  638  represents  the  weave  for  face  f8-harnes^  fancy-twill). 
Fig.  639  represents  the  weave  for  back  — j — 8-harness  twill). 

Fig.  640  represents  the  arrangement  for  combining  both  cloths  through  the  back-warp,  inter- 
lacing with  the  face  filling  (}  ^  8-harness  twill). 

Fig.  641  is  a  complete  double-cloth  weave,  constructed  out  of  Figs.  638,  639  and  640. 
Repeat:  16  warp-threads  and  16  picks. 

■      ■  "  ■      Sa);:]  ■  „  m      ■  '_^q 

r  Bi'^  ■      ■  ^  ■  .  c,,M  l'^  ■  X  ■ 

,  ^r,     r  ■  ■  BB"     ■  ,  ■     „     ■     "     B     „  R 

□G'/  ■  ■      "         '  L    e      ■  "  ■  "  m^A  c  m      ■  "  ■  " 

r  "    msm  "      y  jj  ,  "  y^j"  p  "  ii  "  ^  ,^  y  y      ,  '^g 

dmaonaa  g         u  ::  g      g      ::  ::  ::     i  E-C  :: 

■  ■    ^  ^  .  :    ■      ■      B>i<  ■ 

DDDoaDDD  n  n  "  □  .  ,Efl.-.  g  ::  g  G-^iga 

iMZio  iBDDoaQQa  iBBBu^^-u-B-B  .  j  m&  -  m  ^  m  ■---,-!  — ■  ■Jog 

14  18  1  16  I  10  1  16 

Fig.  642.  Fig.  643.  Fig.  644.  Fi     645.  Fig.  646. 


inn 

mm 

r 

) 

Another  example  illustrating  double  cloth  constructed  "  one  face,  one  back "  in  warp  and 
filling,  is  shown  in  weave  Fig.  644.  It  contains  the  common  4-harness  basket,  illustrated  sep- 
arately in  Fig.  642,  for  its  face  and  back  weave. 

The  method  of  interlacing  observed  is  the  stitching  of  the  back-warp  into  the  face-cloth,  as 
shown  by  a  for  raisers  in  the  full  design,  as  well  as  in  the  extra  plan  Fig.  643. 


133 


Weave  Fig.  645  illustrates  the  combining  of  two  plain  woven  cloths  into  one  fabric  by  bind- 
ing the  back-warp  into  the  face-cloth.  It  will  be  seen  that  the  points  where  the  back-cloth 
interlaces  into  the  face  will  show  on  the  surface,  but  as  only  one  thread  raises  at  a  time  in  a 
plain  weave,  the  required  points  in  Rule  5  (/.  e.  to  have  for  the  intersection  of  the  back-warp  with 
the  face-cloth,  a  place  where  the  face  warp-threads  on  each  side  nearest  to  the  back  warp-thread 
raise  at  the  same  time)  can  never  be  found,  and  we  must  use  the  weave  as  mentioned  above,  or 
as  to  whichever  side  of  the  fabric  is  required  to  be  the  clearest,  we  may  use  the  arrangement  of 
the  "  double  plain,"  as  shown  in  weave  Fig.  646.  In  this  the  face  is  arranged  to  bind  the  lower 
fabric  as  indicated  by  s  for  sinkers.  The  raising  of  the  back-warp  in  the  face-cloth  in  weave 
Fig.  645,  as  well  as  the  lowering  of  the  face-warp  in  the  lower  cloth,  as  in  Fig.  646,  are  arranged 


I :      '  :  .  10 
'  n 

M  ,  -J  .1  .1J 

IS  T  8 

Fig.  647.  Fig.  648. 


■BB 

■HDHB 

■C 

(   "  ■ 

■ 

■  , 

■  ■ 

m  ■ 

I 

snnnfflDaaa 

□□□OQDSD 
□□UDBDGO 

□□□conaa 
□□aaanna 
□□□□□ana 
iBDDDGaan 

■ 

■ 

I 

IS 

■ 

■ 

I 

!^  .  ■  ■ 

1 

i 

Fig.  649. 

Fig.  650. 

after  the  8-harness  satin  (filling  face).  In  the  present  examples.  Figs.  645  and  646,  the  question 
may  arise  as  to  which  method  should  be  preferred  ? 

Taken  in  the  general  average  of  fabrics  constructed  on  this  double  plain  weave,  or  similar 
weaves,  in  which  only  single  threads  raise  at  a  time,  such  as  filling-face  satins,  etc.,  the  preference 
should  be  given  in  favor  of  the  first  named  weave. 

Repeat  of  designs  645  and  646  is  :  16  warp-threads  and  16  picks. 

Another  example  of  this  system  of  double  cloth  is  shown  in  Figs.  647  to  650. 

Fig.  647  represents  the  face-weave. 

Fig.  648  represents  the  weave  for  the  lower  fabric. 

Fig.  649  illustrates  the  method  of  binding  both  cloths  into  one  fabric. 


■□■■np'.jB 
cmm  ■■ 


Fig.  651. 


Fig.  652. 


□□a 

g 

HDHB 

HDHI 

■ 

■ 

■ 

■ 

■ 

■ 

□□□□□□□a 
□□□□Bona 

□aDDDDDCJ 
□□□□□□BQ 

□□naanau 

l;  c: 
■ 

■ 

B 

■ 

■ 

■ 

■  >!<■ 

V. 

■ 

■ 

■  ■ 

■da 

■ 

■ 

IDQQaCBDa 

■ 

■ 

1  9 

Fig.  653. 

Fig 

65+ 

Fig.  650  shows  the  complete  design. 

Repeat :  16  warp-threads  and  16  picks.  Face-weave  is  the  ? —  ^  4-harness  twill ;  back-weave 
is  the  plain. 

The  stitching  of  the  back  into  the  face-cloth  is  arranged  after  the  8-harness  satin, 
filling  up. 

Weaves  Figs.  651  to  654  illustrate  the  combining  of  an  8-harness  "  granite- weave  "  with  the 
plain  weave  for  double  cloth,  each  taken  alternately,  warp  and  filling  ways. 
Fig.  651  illustrates  the  granite-weave  (8-harness)  to  be  used  for  the  face. 
Fig.  652  is  the  plain  weave  to  be  used  for  the  back  of  the  double  cloth. 

Fig.  654  shows  the  complete  double-cloth  weave  derived  by  combining  both  cloths  with  the 
8-harness  satin.  Fig.  653,  using  the  back-warp  for  binding  into  the  face-cloth. 


134 


Double  Cloth  Composed  with  Different  Proportions  of  Face  and  Back-threads. 

B.  Warp :   t  end  face  to  alternate  with  i  end  back. 
Filling:  2  ends  face  to  alternate  tvitJi  i  end  back. 

In  this  manner  weave  655  is  constructed.    Repeat:  16  warp-threads  and  12  picks.  Weave 


h:  !l:  c;  h  :au  sar-BB'    ■  jmsa 

■a«  ■  ■      iJD  r  ■■  ■■ 

■  :)■□  [  ■■    ■■  ,  □i:oDa6BDa 

G  n      :;  n  -!□□  ■■    ■■   j  bddd^ODD 

Lj     ■  ■  msMu  ■    ■■    ■  4DDBoaDDB  □□□fflomn 

□,.  BSIB  a  ■  J  JO  i    ■■  ■■ 

B'     :L3  □  :-;  a  h  IjQT  \  mm    mm  2  offlDDDaaa 

.  I  .  -.BaB    ,'JGd  <■■   _BB_T  inaDDHaDn 

1  16  13  1  »  18 

Fig.  655.  Fig.  656.  Fig.  657.  Fig.  658. 

for  face-clotla  is  the  4-harness  ?  ^  twill,  Fig.  656.  Weave  for  the  back-cloth  is  illustrated  sepa- 
rately (same  kind  of  type  as  used  in  complete  weave)  in  Fig.  657. 

The  combining  of  both  cloths  is  effected  by  the  8-harness  satin,  Fig.  658. 

C.  Warp :  2  ends  face  to  alternate  with  i  end  back. 
Filling:  i  end  face  to  alterttate  with  i  end  back. 

Designing  a  double-cloth  weave  under  this  proportion  is  illustrated  by  weave  Fig.  659. 
Repeat:  6  warp-threads  and  8  picks.  Weave  for  face-cloth  is  the  4-harness  ?  2  twill  (Fig.  660). 

□□BHHQEaDHHHa 

D    BE^B  mmm 

E  'C'c  ::::  hcj.  la 

c  ■■  ■■  ::j 

□  ::::  ::::  a 

■EJB^^ 

■  '■ 

1''  "■-!<■" 

□  ::::  :i  mcnm  'aood 

L:<  ■■  ■■     I  DBOS 

cx;  acii  iojo  a  □□□□ 

l«BB_ij:^afflB.JJU  f"'-"J  'f9*D  IfflDBQ 

Fig.  659.  Fig.  660.  Fig.  661.  Fig.  662. 

The  back-cloth  is  worked  on  plain,  as  represented  in  Fig.  661,  and  the  combining  is  effected 
by  the  back-warp  in  the  face-cloth  raising  every  other  back  warp-thread  on  every  other  face-pick 
(Fig.  662). 

The  next  arrangement  for  double  cloth  is — 

D.  Warp  and  filling:  2  ends  face  to  alternate  with  i  end  back. 

This  proportion  for  using  face-threads  to  backing-threads  in  warp  and  filling  has  been  repre- 
sented before,  in  the  examples  given  for  illustrating  the  rules  for  designing  double  cloth.  At 
present  this  system  of  using  face  to  back-threads  is  mentioned  in  its  proper  place  under  the  head- 
ing of  "  Different  Proportions  of  Face  and  Back  in  Double  Cloth." 

i^noDummanmmna 

HUHnnnHSicanaH 
■pi  '■  iB  n^'XJ* 

bR"c;  :;'P'di-i"  sGOBHDMa 
■■  ■  JG 

□L!'     ■■    msm  HnQBana 

bn:::;        ":3  ■■' 

o  mm         m  ■  cl  ■■  ■■  *cmmci  iOBna 

■SBB     ■  ■   -jG  □■■  ■■ 

BiiiHa;       KCJGa  :■■  \ 

ipDHUOLiaGBBaa  laauuaBaG  iibljo  isudd 

T  12  ■  18  14  14 

Fig.  663.  Fig.  664.  Fig.  665.  Fig.  666. 

Fig.  663  represents  the  combination  in  double  cloth  of  weave  Fig.  664  used  for  the  face,  and 
weave  Fig.  665  that  used  for  the  back.  Both  cloths  are  combined  into  one  fabric  after  the  motive 
of  the   3  4-harness  twill  (Fig.  666).  Repeat  of  weave  Fig.  663  :  12  warp-threads  and  12  picks. 


A 


135 


Weave  Fig.  667  illustrates  the  combination  of  the  - 
the  face-cloth  and  the  ^  j-  4-harness  common  twill  for  the  lower  cloth  (Fig.  669) 


I  4-harness  broken-twill  (Fig,  668)  for 

Both  cloths 


are  combined  by  motive,  Fig.  670  (plain). 

Repeat  of  the  double-cloth  weave:  12  warp-threads  and  12  picks. 


■  ■! 


Fig.  667. 


1  4 

Fig.  668. 


mcmm 

■HQ 

1  4 

Fig.  669. 


DBnEB 

sasa 
I  4 
Fig.  670. 


This  character  of  the  double  cloth  (2  threads  face  to  alternate  with  i  thread  back)  is  that 
most  frequently  used  in  the  manufacture  of  worsted  and  looolen  goods.  In  designing  double 
cloth  b\-  this  arrangement  for  4-harness  basket  or  similar  weaves,  as  also  combination  weaves  of 
basket  and  twill  effects,  etc.,  always  remember  that  the  back-warp  must  be  arranged  to  work  in  the 
centre  of  the  two  face  warp-threads  working  alike,  as  this  gives  us  the  only  chance  for  properly 
binding  back  to  face.    For  example  : 


I  "a 


Fig.  671. 


Fig.  672. 


Kmnmimom 
□■□■□■o« 

1  8 

Fig.  673. 


□□□□□□na 
□□□□snDD 

□□□□□□HQ 
□□OaQQDD 

laaaaaaaa 

1  8 

Fig.  674. 


Fig.  671  illustrates  the  weave  for  a  double-cloth  fabric,  which  has  for  its  face  the  4-harness 
basket  (arranged  as  previously  mentioned).  It  has  the  common  plain  weave  for  the  backing,  and 
the  stitching  is  done  with  the  8-harness  satin. 

Fig.  672,  the  face  weave.    Fig.  673,  the  back  weave.    Fig.  674,  the  stitching. 

Repeat  of  weave  Fig.  671  :  24  warp-threads  and  24  picks. 

The  next  arrangement  of  proportional  face  and  back  for  warp  and  filling  is  : 


E.    2  ends  face  to  alternate  zvitJi  2  ends  back  in  both  systems  of  threads. 
This  method  is  illusti  ited  in  Fig.  675  which  is  composed  of  the  8-harness  twill  - 


for  face 


■ 

:x;d«h 
■  'nm 

El 

wim  f^u 

C 

mm 

= 

□ 

1  ' 
[ " 

.  mm>z< 

na 
'jm  ':3a 
;□□ 

1  16 

Fig.  675. 


Fig.  676. 


-'i3 


Fig.  677. 


sfflonDanna 
□□□□□oaa 

□□□□□□QH 

□□□□aaaa 
□□□□□aoG 
□□HDaaaa 

laDGfflDDQD 

t  8 

Fig.  678. 


and  the  common  plain  weave  for  back-cloth.  Both  cloths  are  combined  with  the  weave  repre- 
sented in  Fig.  678. 

Fig.  676  shows  the  face-weave.  Fig.  677  shows  the  back.  Repeat  of  the  double  cloth:  16 
warp-threads  and  16  picks. 


136 


F.  Warp:  2  ends  face  to  exchange  zvith  2  ends  back.    Filling:  2  picks  face  to  exchange 

with  I  backing. 

These  are  used  to  a  great  extent  in  arranging  63°  steep  twills  (diagonals)  for  double  cloth. 
Figs.  679,  680,  681  and  682,  illustrate  such  a  case. 

Fig.  680  represents  a  diagonal  on  6-harness  and  12  picks  repeat,  as  used  for  face. 
Fig.  681  shows  the  common  plain  as  used  for  back. 

ISDDOMnDaBnDH 

□□■□□□•nanHQ 

■cr  ■■ 

BB  aa  a::  ; 

■  ■■  . 

■G'.    ■  ■    '  :■ 

□Cr  -.vj,  :;c;  .                                :  :■■[]■■ 

■Ci.    ■  siB     m                           m  •  ■■'  J 

no  ■■  ■                                     !■■ .! 

::::    a  ■  ■■  ■ 

□□:  ■■  ..■                           ■  ■ 

■□.  ■  ■■    :  j                                      L  ■■  ■  !  eOHOHDB  CcnDnDH 

HD'iaa    a::;   tea  i         ■  □□□□□□ 

^.BB  ■■  mm  A  □□□bdo 

■□□l,BC'^_.^.jJH  M^HJ  □□□□□□ 

BBaaHBaaaPzia  offlanna 

1  12  16  16  16 

Fig.  679.  Fig.  680.  Fig.  681.  Fig.  682. 

Fig.  679  illustrates  the  complete  double-cloth  weave,  12  warp-threads  and  18  picks  repeat. 
The  combining  of  face  and  back  cloth  is  shown  separately  in  Fig.  682. 

G.    J  ends  face  to  exchange  with  i  end  back  in  warp  and  the  filling. 

These  are  illustrated  in  one  example  by  weaves,  Figs.  683  to  686. 
Fig.  684  represents  a  12-harness  fancy  twill  to  be  used  for  face- weave. 
Fig.  685  shows  the  common  plain  to  be  used  for  backing  weave. 

Both  cloths  are  combined  into  one  fabric  with  the  *  ^  4-harness  twill  shown  in  Fig.  686. 

Repeat  of  double-cloth  weave,  Fig.  683  :  16  warp-threads  and  16  picks. 


■■■ 

■ 

■ 

r  m 

■■ 

■ 

cmm~:u 

vmmDoamcmm 

m_m 

■□■■■□■■I 

■  ■ 

'm 

■  ■■ 

m 

■ 

■ 

■ 

□□■  ■■  ■ 

■  ■  1 

■ 

■□■  ■■■ 

■ 

mm 

■ 

■■  ::m 

□■■  ■■■ 

■ 

■■■ 

m 

I 

■  ■ 

smm" 

a:}a  jQ 

I 

■■ 

I 

^.^mmzm 

■■■ 

■■■ 

^mm 

1 

-A 

CanB  4CDDEB 


Fig.  683.  Fig.  684.  Fig.  685.  Fig.  686. 

The  foregoing  57  weaves  have  clearly  demonstrated  that  double-cloth  weaves  may  be  de- 
signed in  any  combination,  from  i  face,  i  back  in  repeat,  to  3  face,  I  back ;  also  that  these  pro- 
portions may  be  taken  independently  for  warps  or  for  filling  in  any  weave.  The  binding  has 
mostly  been  done  by  the  back-warp,  yet  it  has  been  shown  that  the  face-warp  can  also  be  used. 
In  closing  this  subject  on  the  construction  of  the  double-cloth  weaves,  a  further  example  is 
shown  in  which  both  methods  of  stitching  must  be  combined  in  one  double-cloth  weave. 
JSDB-BB— -■"■■-'-'^^G  Fisf.  687  represents  such  a    double-cloth  weave. 

BH  ^^yy-g  g    Repeat:  20  warp-threads  and  18  picks.    The  arrange- 

h  ^^^^-^l    ment  of  the  warp  is  :  "BS:".r^~!!"i3^g 

■■         ■■  OB  ci.    mm  mm      mm  ■■ 

Bg        ::::  ::::g  gjj        □  ^  threads  face.  W  " 


umam  mm        m^■.•m  ■■3  ^ 

aa  c:aaaa  a:::;  :"^^::a  j  thread  back.  H 
LP                          mmsm  □  '  ■■  ■■ 

ga  :x:a;:a  ::a::aa_.g  ^  threads  fece.  g  HI 

.Bauaa^aa  maa^aasB  ^  thread  back.  '  ^ 

TTtr-  —  1        ,    •  Fi"^-  688. 

riG.  007.  jQ  threads  in  repeat. 

The  filling  intersects  2  picks  face,  I  back,  =  3  picks  in  repeat. 

On  examining  the  weave  we  find  the  centre  thread  of  the  5  face-ends  used  for  interlacing 
twice  in  one  repeat  of  the  weave  in  the  back.  The  places  of  stitching  the  face-warp  into  the 
back  are  shown  by  a. 


137 


Weave  Fig.  688  represents  the  single-face  cloth,  being  a  granite-weave  with  fancy  spot-effects 
(by  the  aid  of  warp-threads  numbers  i  and  9.) 

Double-Cloth  Weaving  without  Stitching  Both  Cloths. 

At  the  beginning  of  our  lecture  on  the  double  cloth,  and  the  purposes  for  which  it  is  used 
when  the  two  single  cloths  are  not  stitched  together  so  as  to  form  a  new  fabric,  we  mentioned 
the  manufacture  of  seamless  bags  and  fabrics  constructed  on  similar  principles.  In  manufacturing 
seamless  bags  a  series  of  panels  are  formed,  each  composed  of  two  separate  cloths,  a  series  of 
solid  webbings  uniting  the  cloths  of  the  panels,  and  a  series  of  divisions  formed  in  the  solid 
webbings,  each  of  which  are  composed  of  two  separate  cloths.  Diagrams  Figs.  689,  690,  691, 
692  and  693  are  intended  to  illustrate  the  method  of  weaving  such  seamless  bags.  (Harden- 
brook's  patent.) 

Figs.  689  and  689'  represent  a  plan  view  of  the  fabric. 

Fig.  690  is  a  transverse  section  of  the  same  in  the  plane  x  x,  Fig.  689. 

Fig.  691  is  a  longitudinal  section  in  the  plane        Fig.  689. 

Fig.  692  is  a  longitudinal  section  in  the  plane  s  z,  Fig.  689. 

Fig.  693  is  a  sectional  side  view  of  a  bag  when  finished. 


A  (689)  designates  a  fabric  in  which  the  arrow  i  indicates  the  warp.  This  fabric  consists  of 
a  series  of  panels  c  c*,  each  composed  of  two  cloths,  and  of  a  series  of  transverse  solid  web- 
bings, a  a,  and  longitudinal  solid  webbings  b  b,  in  which  the  filling  is  interwoven  with  all  the 
warp-threads  of  the  fabric,  producing  purely  single  cloth  with  the  latter  at  places  mentioned. 
The  outside  edges,  as  to  width  of  fabric  in  the  loom,  may  either  be  temporarily  closed  with 
a  few  threads  of  plain  working  selvage,  which  may  be  liberated  after  the  fabric  has  left  the 
loom ;  or  the  fabric  can  be  woven  without  specially  uniting  the  two  fabrics  in  such  manner. 
The  commencement  and  the  ending  of  the  weaving  of  the  fabric  in  the  loom  is  formed  in 
each  case  by  one  of  the  transverse  solid  webbings  a  (single  cloth).  If  the  fabric  is  cut 
lengthwise  through  the  centre  of  the  longitudinal  solid  webbings  b  b,  and  through  the  centre 
of  the  divisions,  and  also  transversely  through  the  middle  lines  of  the  solid  webbings"  a  a, 
f  f,  di  number  of  bags  are  produced,  and  it  will  be  seen  that  the  bags  produced  from  the 
side  portions,  c*  c*,  of  the  fabric  have  selvages  at  their  mouths,  while  all  the  others  produced 
from  the  centre  portions,  c  c,  will  have  raw  edges  at  their  mouths). 

The  size  and  the  shape  of  the  bags  is  unlimited  and  is  readily  regulated  by  the  changing  of 
divisions  (purely  single-cloth  weaving)  or  openings  (double  cloth  not  stitched). 

From  the  explanations  and  illustration  given  it  will  readily  be  seen  that  in  cutting  up  the 
fabrics  represented  in  the  drawings  a  number  of  bags  are  formed,  the  mouth  of  each  being 


138 


composed  of  two  single  cloths  projecting  beyond  the  solid  webbing,  so  that  they  can  be  turned 

back  upon  the  body  of  the  bag  (see  Fig.  693)  to  form  the  tube  g,  for  the  reception  of  the 

drawing  strings  g^,  or  simply  hems  to  protect  the  raw  edges. 

Fig  694  illustrates  the  double  plain  weave  (two  plain  woven  cloths),  without  combining  or 

g3Sj    stitching  required  to  produce  the  openings,  while  the  common  rib-weave,  Fig.  695  S^S", 

Qj.  j[^g  common  plain  weave  Fig;.  6qs^     is  used  for  forming  the  divisions  in  the  fabric 
Fig.  694.  /       ,     .    ,     ,  ^,  X 
(purely  smgle  cloth.) 

These  bags  are  used  mostly  for  tobacco,  salt,  flour,  etc.,  or  pockets  for  trouserings,  coats, 
suitings,  etc.  Frequently  seamless  bags  of  a  larger  description  are  required  to  be  made,  extend- 
ing in  their  length  over  the  entire  width  of  the  loom.  In  such  case  the  double  plain  weave  is 
arranged  for  two  successive  picks  in  each  cloth,  as  shown  in  gajn  j  Lower  side  of  bag  on  loom. 
Fig.  696.  Warp-threads  2  and  4  and  picks  3  and  4  forming  the  iSHSal  Upper  side  of  bag  on  loom, 
lower  fabric,  and  warp-threads  i  and  3  and  picks  I  and  2  forming  -<-^  S. 
the  upper  "fabric.  F'^-  ^96. 

Only  one  shuttle  being  used  the  filling  will  form  the  bottom  of  the  bag  at  the  point  where 
the  filling,  after  leaving  one  cloth,  changes  into  the  other  cloth.  For  example,  in  the  present 
weave,  suppose  we  commence  to  insert  the  shuttle  in  pick  i  from  the  right  to  the  left,  or  in  the 
direction  of  arrow  S,  below  the  weave ;  the  shuttle  and  its  filling,  after  leaving  shed  i  of  the 
upper  cloth,  will  return  in  the  sajne  cloth  on  its  return  (left  to  right),  but  will  insert  itself  in  the 
lower  cloth  on  pick  3  by  interlacing  with  the  warp  and  filling  of  the  lower  fabric  ;  returning  in 
the  same  fabric  at  the  opening  of  shed  (pick)  4,  ready  to  change  again  (combining  both  single 
cloth  for  forming  the  bottom  of  the  bag)  from  the  lower  cloth  to  the  upper  (the  starting  point  in 
the  present  example). 

Before  and  after  weaving  the  required  width  of  the  bag  (double  plain  interlacing  on  one  side  of 
^57  fabric),  the  entire  number  of  warp-threads  are  arranged  to  interlace 

on  the  common  rib-weave  shown  in  Fig.  695  (in  purely  single  cloth). 
Fig.  697  illustrates  itself,  by  the  aid  of  the  foregoing  explanation,  as 
follows  ;  a,  I?,  c,  d  inside  size  of  bag  produced  on  weave  696.  The 
shaded  part  between  the  two  bags  represents  the  purely  single-cloth 
fabric  interlaced  upon  the  common  rib-weave  (Fig.  695);  b  to  c  — 
bottom  of  the  bag,  a  \.o  d  =  opening  of  the  bag.  Dotted  line  e  to  f 
indicates  the  place  for  separating  the  fabric. 

In  the  manufacture  of  hose  and  similar  textile  fabrics  the 
weave  given  in  Fig.  694  (double  plain,  one  end  face  to  alternate  with 
one  end  back  in  warp  and  filling)  is  used. 

Double  Cloth   Fabrics  in  which  the   Design  is  Produced  by  the   Stitching  Visible 

upon  the  Face  of  the  Fabric. 

Worsted  Coatings. 

Fabrics  of  this  style  are  a  division  of  the  double-cloth  in  which  the  binding  of  both  is 
arranged  so  as  to  form  patterns  of  any  required  design.  This  binding  of  the  two  fabrics  has  to 
be  done  as  firmly  as  possible  all  around  the  outline  of  the  design.  The  double  fabric  has  to 
become  a  single  cloth,  warp  and  filling  ways,  all  along  the  outline  of  the  figure  or  effect.  It  has 
to  be  bound  not  only  at  intervals  as  in  the  previously  explained  stitched  double-cloth,  but  into 
one  compact  fabric  throughout  the  entire  length  of  the  piece,  upon  the  warp-threads,  and  across 
the  fabric  upon  the  filling  ends  which  form  the  outlines  of  the  figure. 

Double-cloth  fabrics  in  this  arrangement  of  binding  may  be  made  as  fanciful  as  required, 
but  in  the  manufacture  of  worsted  coatings  and  similar  fabrics  they  are  generally  confined  to 
striped  and  small  check  figures. 


139 


textures  for  these  Fabrics  and  Arrangement  for  Binding. 

These  fabrics  are  generally  constructed  on  2  threads  face,  i  thread  back  (binder),  and  the 
stitching  is  done  with  the  back-warp  binding  over  2  face-picks.  For  example,  take  Fig.  698  for 
the  motive  of  the  design  and  Fig.  699  for  the  complete  weave. 

Repeat :  42  warp-threads  and  24  picks. 

It  will  be  readily  understood  that  the  stitching  of  the  back-warp  in  the  face  fabric  will  form 
impressions  on  the  latter  according  to  the  figure  employed  for  the  motive  of  stitching  the  fabrics. 
Again,  through  the  places  where  the  double  cloth  is  left  unstitched,  the  fabric  will  get  an  em- 


;;;; 

^^;r^-H  ^\^v^ 


Fig.  698. 


Fig.  699. 


bossed  effect,  similar  to  that  of  2  pieces  of  cloth  embossed  with  the  needle,  the  binding  taking 
the  place  of  the  latter.  The  cut  effect  will  be  more  prominent  when  2  beams  are  used,  one  for 
the  face-warp  (ground)  and  one  for  the  back-warp  (binder),  and  putting  more  tension  on  the 


The 


twill  for  the  face,  having  the  backing  working  on  plain 


beam  carrying  the  binder, 
weave,  may  also  be  used. 

Fig.  700.    Motive  of  the  effect. 

Fig.  701.  The  complete  weave  to  produce  the  same,  executed  on  above  stated  principle 
Repeat :  36  warp-threads  and  36  picks. 


ggRyiRnRqg-n-gpn-npapygL 


Fig.  701. 

In  worsted  fabrics  (also  woolen  fabrics)  forming  stripes  composed  of  different  weaves,  in 
which  it  is  desired  to  make  the  changing  from  one  effect  or  weave  to  the  other  very  prominent, 
by  means  of  a  deep  or  pronounced  cut  line,  use  a  method  similar  to  the  one  above  explained,  e. 
"  the  double-cloth  fabric  changing  into  single  cloth  at  the  respective  last  ends  of  the  one  weave 
or  effect,  and  the  first  ends  of  the  other."  The  only  change  observed  in  the  present  kind  of  fab- 
rics, compared  with  those  explained  before,  is  found  by  combining  both  fabrics  into  one  through 
lowering  the  face-warp  into  the  back  filling.  In  this  manner  designs  Figs.  703  and  705  are 
constructed. 


140 


Fig.  702  represents  the  motive  to  weave  Fig.  703,  and  Fig.  704  illustrates  the  motive  for 
weave  Fig.  705. 

Fig.  703.    Repeat:  18  warp-threads,  6  picks,    s  for  raisers,  □  and  ■  for  sinkers. 
Fig.  705.    Repeat:  36  warp-threads  and  6  picks,    a  for  raisers,  ■  and  □  for  sinkers. 


□■■  ■  ■■  ■  ■  ■■  jm 
mm  mm  mm  mm  mm  mm"j3 
■  ■■  ■  ■  ■■  ■■□ 
*n  mm  mm'  mm  mm  mm  mm 
□■■  ■  ■        ■    ■■  }■ 

■■    ■■    ■■    ■■  ■■ 

1     4  12 


Fig.  702. 


eg'-  . 


FtG.  703. 


Matelasses. 

These  fabrics  are  chiefly  used  for  ladies  jackets  or  mantle  cloth,  hence  the  name  "  matelasses." 
The  face  fabric  is  mostly  silk  or  fine  worsted,  the  back  all  cotton,  or  cotton  and  woolen.  The  face 
and  the  back  are  also  two  separate  fabrics,  having  an  extra  "wadding  "  pick  between  each,  which 
will  greatly  help  to  enrich  the  embossed  effect  characterizing  this  line  of  fabrics.  The  figure  is 
produced  exactly  on  the  same  general  principle  as  that  explained  before.    In  addition  to  this 


□■■rrH-aa  aa-^ a^aa  ~~~aa  aa  ^  aa'^^D 
aa  aa  aa  aa  aa  aa  aa  aa  aa  aa  i 
a    aa    a    aa    aa  aa    aa  a    aa    a    aa  aa 

'tc.  aa    aa    aa    aa    aa    aa  .  aa    aa    aa  aa 

caa  aa  aa  aa  ...a.  ^aa^'^a^aa  aa  aa  aajj 
,aa  aa  aa  aa  laaacDaauaaa^  aa  aa  ...aaGC^ 
IB.,  aa    a    aa. ._.BBDBaaDaaaaO'_aa  .  a  aaDnaB 

1  -  16  24 

Fig.  704. 


Fig.  705 


□□□□ 

inara 

] 

^□ca.jaaaujcaHaDg 


binding  different  weaves  for  the  face  effect  may  be  employed  by  using  twills  and  other  weaves  in 
floral  and  ornamental  figures  for  design.  In  some  of  the  lighter  grades  of  these  fabrics  no 
interior  or  wadding  filling  is  employed,  but  simply  the  two  cloths  as  explained  at  the  beginning 
of  this  article.  In  these  fabrics  nearly  the  same  effect  is  obtained -for  the  face  appearance, 
though  of  course  the  figures  do  not  stand  out  as  prominently  as  when  wadded,  and  the  fabric  is 
not  as  stout. 

Quii.TS. 
P/ain  Piqut  Fabrics. 

Another  line  of  textile  fabrics,  constructed  on  the  same  principle  as  the  coatings  and  mat- 
elasses, is  found  in  quilts,  bedspreads,  toilet-covers  and  similar  fabrics.    These  fabrics  are  gener- 
ally made  in  white.    In  plain  pique  fabrics  the  back-warp  forms  lines  across  the  fabric.    Fig.  706 
'°BB°§B^§B-aBa    shows  a  draft  for  such  a  fabric  requiring  4-harness  for  face-warp,  4-harness  for 
i'  :;;]a:;;;  ^jiaa    back-warp,  =  8-harness. 
iyaB  ::Sa^S  5  Repeat :  6  warp  threads,  10  picks. 

iBc,"a_":a  °  represents  the  face-warp,  b  represents  the  back-warp. 

Fig.  706.  Examination  of  the  design  shows: 

Picks  I  and  2  interlacing  the  face-warp  on  plain  weave.  Pick  3  is  a  backing  pick,  in  which 
the  entire  face-warp  is  raised,  and  also  every  other  one  of  the  back  (forming  in  this  manner  the 
first  pick  of  the  plain  weave  for  the  back).  Picks  4  and  5  are  a  repeat  of  picks  i  and  2.  Pick  6 
is  a  backing  pick,  in  which  the  entire  face-warp  is  also  raised,  and  also  the  back  warp-ends  not 
raised  in  pick  3.    Picks  7  and  8  are  again  a  repeat  of  picks  i  and  2.     Thus  far  the  weave  has 


141 


formed  two  separate  fabrics,  each  one  worked  on  its  own  system  of  threads.  By  picks  9  and  10 
these  fabrics  are  united  into  one  cloth  by  raising  the  back-warp  into  both  picks  and  working  the 
face-threads  on  the  plain  weave  as  was  done  before  on  picks  i,  2,  4,  5,  7  and  8.  This  combina- 
tion of  both  fabrics  gives  us  the  required  line  across  the  fabric.  If  it  is  desired  to  produce  this 
fabric  for  a  heavier  article,  one  or  two  "  wadding"  picks  may  be  introduced  between  both  fabrics, 
as  in  Fig.  707,  through  pick  5. 

Picks  I  and  2  face. 
"     3  back. 
"    4  face. 

"     5  interior  (wadding.) 
"    6  face. 

"     7  back.  , 
"     8  and  9  face, 
"   10  back. 
"   1 1  face. 

In  inferior  qualities  these  fabrics  are  made  by  omitting  the  two  backing-picks ;  hence  the 
binder-warp  has  to  float  on  the  back.  The  wadding  pick  taken  for  these  fabrics  is  of  a  very  heavy 
size  so  as  to  prominently  raise  the  rib  effect. 


11  an 
cxv  '[;□,  na  i 
a    a  ■  . 

'  "ti^ 

■■  ■■  ■■  ■ 

.a::a::a  a 

in  >  ,a  :  a  ,  a-j  i 

1  \i 

Fig.  707. 


cba 

.  □HBCfflS 

□BGnnn 
□□HDan 

□fflfflDBH 

□nnntan 

□□□OGH 
TDBBDfflffl 


cba 

Fig.  708. 


Such  an  example  is  shown  in  weave  Fig.  708. 
Repeat :  2  ends  face,  i  end  back  in  warp  and  8  picks. 
The  arrangement  of  the  filling  is — 

Pick  I    face,  binder. 
"      2  ) 

„      ^1  face,  regular. 

"      4  wadding. 
5  1 

„      ^  Vface,  the  same  as  picks  2  and  3. 
"      7  wadding. 

"      8    face,  the  same  as  picks  2  or  5. 
Diagram  Fig.  709  illustrates  the  section  cut  of  a  fabric  interlaced  with  weave,  Fig.  708. 

Figured  Pique. 

These  fabrics  are  also  executed  on  the  principle  of  the  double  cloth.  Both  cloths  are  quite 
plain  in  their  weave,  but  the  face  is  much  finer  than  the  back.  White  is  the  color  in  which  they 
are  generally  made.  A  "wadding"  pick  maybe  used  to  give  bulk  to  the  cloth,  and  the  em- 
bossed effect  likewise  characterizes  these  fabrics.  The  design  for  the  fabric  is  also  formed  by 
binding  both  cloths  together.  The  thicker  the  wadding  and  the  larger  the  figure  required  to  be 
designed,  the  more  prominent  will  be  the  effect.  Tn  many  of  the  lighter  fabrics  no  wadding 
pick  is  used,  but  the  two  cloths  are  simply  stitched  together. 


142 


IS 


Fig.  710  illustrates  a  weave  for  these  kind  of  fabrics  (without  a  wadding  pick).    Fig.  711 
the  motive  of  the  stitching  for  effect  in  Fig.  710. 

A  consideration  of  the  face-picks  will  show  in  every  one  of  them  some  of  the  binder-warp 
up,  according  to  the  figure  required. 

This  will  easily  explain  the  stitching  of  the  fabric.  As  both  warps  are  white,  no  change  in 
color  can  be  seen  but  the  effect  will  be  produced  by  the  weave,  as  every  binding  back-warp  thread 
will  pull  in  the  face  of  the  fabric,  in  any  place  where  it  is  raised  on  a  face-pick,  somewhat  similar 
to  the  stitching  together  of  two  bulky  fabrics  with  a  sewing  machine.    Large  designs,  such  as 


□■a    ,a  T  a  ;  "a  '     "  i 

am  a    [}    a  a  ai 

a  aaB[;a  a:j  aa  a:; 

rj  a  Ba  a  a 

a    a«  a    [;  a  a 

a  ,aa  aaaaa  c;a  aa 

□  c:    a  aa  [:  a. 


■ 

laai 
a  ■ 


aai 


■a 


I  a 

a 
aa 


a  "a 
a  aa 

a    a    aa  a  c: 
:;a  [laaaa  aa  aa 

"a  ^j;B"a^"a 

a  aa    a  a 

a 

□  aa 

a    ::m        a  a 

"a  ^a  l^aS^a  j 

iQUGaa  jaj'-jU  j^a  j^a_j  _,aBua.^'^ 


a  a  ]□ 
a  aaaa 

[; 

a 

aaaa  □ 
■a  □ 

a«  a.jQ 

a  aa  la 
a  JH 

a  a 

a  aa:o 
a 

:}    a.' a 
a  aaJH 
a^jDia 

a  aaiB 

a 

a  a«a 

a  aa  □ 
a  □ 

:ij3 
a  aa  jca 

"■;  )□ 

B'  JQ 

la  )□ 

I  JQ 

a  ,□ 
la  jH 

a 
laac] 

,ama 

ye 


Fig.  710. 


□□■□□□□□□□■a 
□□□■□□□□□■□n 

■□□□□■□■□□□a 

□□□□■□□□■□□a 
□□□■□□□□□■□a 

Fig.  711. 


flowers,  etc.,  are  woven  with  the  Jacquard.  As  these  large  figures  have  a  long  floating  of  the 
binder-warp  (back-warp),  while  not  being  used  for  the  outline  of  the  figure  on  the  face,  the  back 
warp-threads  as  a  consequence  float  on  the  back;  and  as  this  floating  is  injurious  to  the  fabric, 
we  must  use,  in  addition  to  the  front-harness  for  the  face-warp,  a  second  set  of  front-harness  for 
the  back-warp  (binder),  through  which  the  back-warp  can  be  worked  on  plain. 

Reeding  these  Fabrics. 

Threads  i,  2  and  3  are  drawn  in  the  first  dent  of  the  reed;  threads  4,  5  and  6  are  drawn 
in  the  second  dent. 

RIB  FABRICS 

Under  this  division  are  classified  fabrics  which,  in  their  method  of  construction,  have  high 
prominent  and  elevated  places  exchanging  with  lower  or  compressed  ones.  This  method  of  ex- 
changing is  generally  arranged  to  run  in  the  direction  of  the  warp,  but  can  be  arranged  for  a 
diagonal  direction,  or  even  filling  ways.  The  principle  of  construction  of  the  weaves  for  these 
fabrics  is  nearly  related  to  the  common  rib-weaves  for  single  cloth. 


sHaaaaaHannna  sDDDHnnnnnnHnanmnaBnHHEHnnnnHa 


4HHHHHHaHGDDn  Gaaaaaaa 


B 

aaaaaaaaaaa — 
□■□■□■□■□■a 

Fig.  712.  Fig.  713.  Fig.  714. 


□□□□□□□□□am  Eaaaaaaa  "uud  u_j_jaaaaaaaaaaaa._i^^"'aaaaaqHaaaag — a 

B  1  12  1  16 


Weaves  for  rib  fabrics  forming  their  line  (rib)  effects  in  the  direction  of  the  warp  ^re  gener- 
ally produced  by  floating  every  other  pick  for  4  to  12  (or  more)  threads,  and  then  raising  these 
threads  so  floated  for  two,  three  or  more  warp-threads.  The  picks  situated  between  them  are 
interlaced  either  in  plain  or  twill  weaves. 


143 


For  example,  Fig.  712  The  foundation  weave  is  the  common  plain  weave.  Picks  i  and  3 
(and  picks  of  uneven  number)  interlace  in  the  entire  repeat  (12  warp-threads)  on  this  plain  weave, 
while  picks  2  and  4  (and  picks  of  even  numbers)  technically  known  as  "  rib-picks  "  float  below  the 
first  8  warp-threads  and  over  the  next  (last)  4  warp-threads. 

Fig.  713  illustrates  a  similar  arrangement.    In  this  weave  the  ^  j  4-harness  twill  is  used 

for  every  pick  of  uneven  number,  while  the  picks  of  even  numbers,  the  rib-picks,  work  the  same  as 
in  the  preceding  example.    Repeat:  12  warp-threads  and  8  picks. 


Fig.  715. 


Fig.  714  illustrates  an  example  in  which  every  uneven  numbered  pick  interlaces  for  12  warp- 
threads  on  the  common  plain  weave  (floating  below  3  warp-threads),  while  every  even  numbered 
pick  (rib-pick)  floats  for  12  warp-threads  on  the  back  of  the  fabric  and  next  forms  the  face-rib 
over  3  warp-threads. 

Diagram  Fig.  715  represents  the  section  cut  of  a  fabric  woven  with  weave  Fig.  714.  A 
careful  examination  of  it  "will  .show  that  warp-threads  4  to  15  inclusive  must  make  interlacings 
with  the  filling  which  are  not  required  by  warp-threads  i,  2  and  3.  To  get  perfect  work  and 
sufficient  production  it  is  advisable  to  have  double  beams — one  beam  to  contain  the  first  3  warp- 
threads,  the  other  the  remainder.    Repeat :  15  warp-threads  and  4  picks. 

Another  division  of  rib-weaves  is  derived  by  omitting  the  special  rib-pick, 
using  instead  of  it,  every  pick  to  form  partways  (across  the  weave)  rib-pick  and  'Pp^^SfJ^ngaSS 
partways  regular  weave.    Every  pick  in  rotation  is  arranged  for  "rib-pick"  effect 
(floating  on  back)  when  the  adjacent  picks  interlace  on  common  weaving. 

This  method  of  alternately  exchanging  every  pick  in  certain  places  for  "  rib-pick  "  when  its 
preceding  and  following  picks  are  used  for  forming  the  weave  (on  the  face  of  the  fabric),  is  con- 
sumed until  the  repeat  is  derived. 

Fig.  716  represents  such  a  weave,  designed  for  12  warp-threads  and  4  picks  repeat.  The 
float  of  each  pick  (for  "  rib-pick  ")  represents  6  warp-threads  as  illustrated  by  □  type. 

For  the  remaining  6  warp-threads  in  the  repeat  of  weave,  every  pick  interlaces  with  the  warp 
on  the  regular  plain. 


Fig.  717. 

Diagram  Fig.  717  represents  the  section  of  weave  Fig.  716  This  method  of  using  every 
pick  partways  as  rib-pick  (float  on  back)  and  partways  to  interlace  with  the  warp  on  a  weave,  and 
having  this  arrangement  alternated  in  each  adjacent  pick  will,  in  addition  to  the  rib-effect  pro- 
duced, prove  of  great  advantage  in  the  manufacture  of  fancy  trouserings,  in  which  every  other  rib  is 
required  to  appear  in  a  different  color.  Using  each  pick  (taken  in  rotation)  with  the  alternate  ex- 
changing of  two  colors,  each  alternate  pick  the  same,  will  (using  one  color  for  warp  over  the  en- 
tire width  of  the  fabric)  produce  the  above  mentioned  effect.  Such  stripe  effects  will  be  yet  more 
prominent  if  the  warp  in  color  arranegment  is  used  according  to  the  filling  forming  the  weave. 


144 


'  ^  Weave  Fig.  718  illustrates  a  rib-weave  constructed  on  the  same  principle  as 

iBgagnaHgGBGg  weave  Fig.  716.  The  distinction  between  them  is  the  difference  in  size  of  ribs 
iS3a3a"a'^Sa5a  forming  the  new  weave.    Warp-threads  i  to  8  form  the  large  rib  I  while  the  smaller 

Fig.  718.       rib  II       the  size  of  I)  is  formed  by  warp-threads  9,  10,  1 1  and  12. 

Fig.  719  illustrates  a  rib-weave  in  which  the  4-harness  ^  twill  is  used  for  the  face-weave, 

every  pick  being  used  for  one-half  the  repeat  in  width  of  weave  for  floating,  thus  forming  ribs  of 
equal  size. 

Repeat  of  weave:  16  warp-threads,  8  picks. 

I  n 

21  '■■nana -mm  mm  m 

cmm,  ■■^■,^■-■■,,■^,11, 

□Hp  :^_B^B»^^n_^B, ] 

I  II  I  11  I  II  :  ■ 

''□□□□□□□□■□cHaaoH  ^□□nnHnnnanBG  ■■■■■■■■■■■ 

■■    mm"  nz-.sr.aaaa  rmm    mm  aaaaaaaa  m "  mm    ■□□aa  :;:::::3:::;:;:::::;:;:;:;:::::;::::n:3 

c::x:::;:::r:::BB    ■■    1  u:x:::cc:u::aB    Ba<  ■  a 

■■    ■■  aa    aa    uiy^r.azy.^.a  mm    mu:;i:::a  aa  a  a  aa  a  a  aa  a  ] 

c::::;:;::;;::l;  bb    bbj  Kc::x:::cx;a  aa  .  mm3  c:::;:::;:x::;b  b  ]  :;:;aaa:!a::r;:;E::;:;c::;a:>a::t) 

aa    Ba::::::::::::aa  a    aa  .  aacaaBaaEi  1  aa    aa  uauEj  1 1'  -:  :  a  a  a  bb  blb  ..aa  a  biJ 

Qcaaaaaa  -Ba__aB  cascsaaa.  ..aa^Gaa  csaaaaua.a  a  cjtiiii-.B..a  aa  a  .B::aa..B  a.aa 

lajuaa^jaaBaaaQBE)  inuBB_j_jBBBBQQBaBEi  laao^aaLiL.EiBaa  igacGQaQSQaaQaanuEiGBQaQaES 

Fig.  719.  Fig.  720.  Fig  721.        •  Fig.  722. 


The  direction  for  running  the  twill  in  both  ribs  in  weave  Fig.  719  is  the  same,  but  which  is 
differently  arranged  in  weave  Fig.  720. 

Fig.  720  has  a  similar  repeat  and  the  same  weave  (-  ^  4-harness  twill)  for  face.  The  differ- 
ence is  in  the  direction  of  the  twill  in  the  face-weave,  which  has  a  different  direction  arranged  for 
each  rib. 

Weave  Fig.  721  illustrates  a  further  step  in  figuring  rib-weaves.  In  this  figure  rib  I  is  inter- 
laced on  its  face-weave  by  the  ^  4-harness  twill,  and  rib  II  with  the  common  plain.  Repeat 

of  weave:  12  warp-threads  and  8  picks;  rib  I  calls  for  the  first  eight  warp-threads  ;  rib  II  requires 
warp-threads  9,  10,  il  and  12. 


I            II         III  IV 

2rca;;;;BBB^;_^B" -"■v-b7__;bbb;;_;b  ^^b 

a '"bbb''"!;"       b_\'b"_''_'bbb_"^'  ma 

r/^BBB)^'^B"B           ^'b)'b""bBb"  QM 

cbbb""'b)'b''     -  ""b_"'b^^"^bbb  .ma 

mmm'[yji]'ml'^]'^        b^"'b)'b"^|bb  is 

bb"_"^b"b)"'b       bb""b^^b''"'b  -to 

b""b"'b""bB  . 

g::::::"::::":::;  ja 
b  b    bbb         bbb    b  b 

h:::::::;:;::"";; 

cb__b___^bbb__        __^_bbb__^_b^  b  ob 

B"B""aBBj"-J^iajB""BBB'j!jBSMdBa 

laaaaHaBaHaDQGQaBHHHaaaaHaaDa 

1                         lU         14                           M  28 

Fig.  723. 


Kcannaai 

■□CBBB 

UuBBBC 


□CB a.,.._Bi 

ca;_BGDaai 
iBaBGaarai 


Fig.  724. 


Ill 


IV 


lonaDaaaaHaaaBGaaBGarjaaaBBaGH 
■■■■B^  ::a'ja<  laGaaBaaBaaauBuaaaD 
□□GGaaaaBBBBi  ibgb;  jaQaaaaBaaBB 
iHaBBGBGaaaGBBaBBaaaa  .b^bubgb 


Fig.  725. 


Weave  Fig.  722  illustrates  .still  another  step  in  the  figuring  of  rib-weaves,  observing  for  the 
general  arrangement  2  face  picks,  to  alternate  with  one  rib-pick.  Repeat  of  weave :  24  warp- 
threads  and  21  picks;  rib  I  is  produced  by  every  third  pick  with  the  first  4  warp-threads,  and 
rib  II  by  warp-threads  5  to  24,  with  two  successive  picks  out  of  three  picks  in  repeat  of  arrange- 
ment, and  interlacing  as  face-weave  with  the  regular  7-harness  corkscrew. 

f  ig-  723-    Repeat  of  weave:  28  warp-threads  and  20  picks. 

This  weave  illustrates  the  application  of  a  pointed  twill  for  face-weave  of  every  other  rib,  I, 
III,  etc.  Every  even  numbered  rib,  II,  IV,  etc.,  is  produced  by  4  warp-threads  ;  one  pick  floating 
on  the  face  over  all  four  warp-threads  (rib-pick  in  the  adjacent  ribs)  to  exchange  with  one  pick 
interlacing  on  common  plain. 


145 


Fig.  724  illustrates  the  face-weave  for  Fig.  723,  as  used  for  rib  I  and  III.  Repeat:  20  warp- 
threads  and  10  picks,  and  is  the  pointed  twill  derived  out  of  the  - — j — ? — ^ — lo-harness,  uneven- 
sided  twill. 

Weave  Fig.  725  illustrates  a  rib-weave,  constructed  in  four  changes.  Repeat:  28  warp-threads 
and  4  picks. 

The  next  sub-division  of  rib  weaves  embraces  the  diagonals.  These  can  be  further  classified 
into  two  divisions.    Those  designed  with  an  extra  rib-pick  and  consequently  an  extra  face-pick 

■)^^bb''''bb^')'bb 

C:L'By"Ba'"'aB  ■■ 

DMLM  ■  ■  ■  '■  emu    urn    urn  mmn 

□□□[;:::;:::;[;::    ]  BaGc::)[;L;[::;;:  ::::aa 

mi  ■■_,^^BB^,^^i|a 

■                 ■[:"■■""■■  io::nnnnnnn' — ■■^^■■"~n 

Kaanaca:;       1                  dhc3:;l;:::;:;    :;::[:::::::  ■■    mm  ' 

■  ■■■■■]                   DL  ■■■■■■    ■■  ■■  :::: 

□                  egg:::;:;::    :::::;:;:;::a  ■    ■■    :::::::::::::;:::;  ■ 

□■■    ■■    ■■    ■■  1  mm    mm  r.'^a 

□:::;:::;□                            Bat;:;:;a    :::;:;:;:;L:aa  ■■    :;:;:;:::::;:::;::  ■■ 

■  J  ■■  ■■  an  ■■  J  isaaaaacmcmnuna  c::::::::  ■■  ■■  ::::::□ 
e:;:::;::  :::•]□  □□□::::  :;:;:;:::::;:::■;□  CBnBDHQHHHnaH  ■■  :::;:::;:;:;:::;::  ■■  ; 
LM  ■  ■  ■  ■  ■  ■  ■■■■■■■  □□BBi  .B'^B  'aGEia  G::::::  ■■  ■■  :::::::;□ 
Eca::        :::;□□                  Han::    :::::::::::::::::;□  ulM'  :■;:;::::::::!                      ■■    :;:::;:;:;::::::::    ■■  ) 

■  ■  ■  ■  B  ■  ,  n  ■■  ■■  ■■  aac  ■  ■  ■  caa  mm  mm  ::::::::□□ 
aw        :;[;::□□                  ebh    ::::::::::::::[;:;aa  □■.  :::::::;:::;  ■  ■                  ■    :;:;:;:;:::::::;::"  ■■  ■ 

■  ■■■■■                  L.mm    mm    mm    ■■  3  bb  ■  ■  ■  :::;e:b  a::    ■■    ■■  :;::::::::qb 

:;::        ::;;::::::□                  bb    :;:::::::;:::;:;;::;::□  ■l;:::::;:;::::  ■  ■  ,  .    :;:::;:;a:;::::::    ■■  ■■ 

■  ■■■■■  1  ■■  ■■■■■■  J  BL  B  ■  ■  ::::::::::  b  ■■  ■■  :::::::;::::□□ 
:;        :::::;:;:::;□                  a. «  :::;:;L;::::c::::;:::::;n  Dn:;:;;::::;  ■  ■  ■  [  c;aHB:;Ba::o:    mm^  ■■□ 

■  ■  ■  ■  ■                  H'.jL  ■■           an    ■  am,  m  m  c:::::::::l:  r- _mm    mm  bb::bbbbbb 


^BBBBBBB                         □□BBBBBBBHBBBBBB                         BBBBBH'jB   ■  .■lJ                         BBBBBBBBBU  - ■■  .l 
L,Bi_*L,BLjBUBy  IDJHBQCBBUrBBUUBB  lyGBDBL'QBBBBBg  l"^l«BJr,BB'liL:BaBBB  " 

Fig.  726.  Fig.  727.  Fig.  728.  Fig.  729. 


(see  Figs.  726  and  727),  and  the  diagonal  rib-weaves  in  which  every  pick  is  used  partways  for 
"  rib-pick,"  and  partways  for  face-pick.    In  this  manner  weaves  Figs,  728  and  729  are  constructed. 

Weave  Fig.  726  has  for  its  repeat  12  warp-threads  and  24  picks.  The  face-picks  interlace 
in  common  plain,  while  the  rib-picks  float  under  8  and  above  4  warp-threads. 

Weave  Fig.  727  requires  for  its  repeat  16  warp-threads  and  32  picks.    The  face-picks  have 

for  their  weave  the  '-  ^  4-harness  twill,  while  the  rib-picks  in  their  repeat  in  16  warp-threads 

float  under  14  and  over  2  threads. 


HBBBB:  J 
□□lJUBBI 

IHCBBDDl 


■  ■  ■■ 

■   <  U 


Fig.  730. 


cam  ■  ■  ■  ■  MB 
■■■  ■■■  ■■■  ■■■  ■■■  mmU'j 

■  ■      ■      ■      ■      ■::  B 

■  ■■■  ■■■  ■■■  ■■■  ■■■  ■■ 

D  M  m._  m  m  ■::  uma 
mmm  mmm  mmm  mmm  mmm 
■l.  '  ■  .  '  ■  ■  ..■::  ::■  a 
■■■  ■■■  ■■ 
Gi.  ■  ■  ,  ■  .  ■::  ::■  ■□ 
■■■  ■■■         ■■■  ■■■ 

■  r    ■  ;  '  '!■      ■::  ::■.      ■  '  o 

■  ■■■  ■■■  mmm'  mm 
c,  .■  '■.  ■  i.jb::  :::■'  -  ■  <  ■□ 
■■■  ■■■  ■■■  ■■■  ■■■ 

■1 ,  ■  .  ■::  :;■  ■  .  ■  a 
■:  ■■■  mmm  mm 

o  m    '  ■::  ■      ■  an 

■■■  ■■■  ■■■  mmm  mmm 

■  ■:-:□■      ■  :    B  ■ 

■  ■■■'^■■B  mmm'  mmm  mmm  mm 

□UBBljHBCjOLjBljLii  ■  ■□ 

■■■ 

IBBDHBnODBDanBi       ■  .  ■ 

Fig.  731. 


I  a::::  ::::::  ■ 
I  a  ■■■ 
Ba  ::a:;  ■ 
(     a    ■■■  ■■ 
,  a::::    ■  ■ 
■■■ 

a::    ■      ■  :: 


::  :3 


mmm  mmm 


a::a  ::aa  ■  ■  a:;a  :;::a  ■  ;  ■  i 
a      .a    ■■■  ■■■    ::  ■■■  i 

aa  laaa    ■      ■    ::::::  ;:::a    ■      ■  a 
■■■  ■■■    a      ::    ■■■  ■■■  a 

a:3a  m  >  '  m  aaa  aaa  ■  ■  ::aa 
:]  .         ■■■    a      ::    ■■■  ■■■    a  i 

a::  ■  ■  a::::  aaa  ■  ■  :::;:;  a 
[    ■■■  .  a    ■■■  ■■■  .a 

u     .  ,  .■    ::a::  aaa       j    ■    aaa  .bbb 
mmm  .  a      a  iijaaBLjaBB    a    .  laaa 

tmxxMJ  .aaa  .aaa  nm^ozm  .  .aaa  bqbqd 

T  10 


Fig.  732. 


Weave  Fig.  728,  as  previously  mentioned,  is  a  rib-weave  in  which  every  pick  is  used  part- 
ways  for  "  rib-pick,"  and  the  remaining  part  forming,  by  interlacing  with  the  warp,  the  face- 
weave.  Repeat:  13  warp-threads  and  13  picks.  Width  of  rib-float  6  warp-threads,  exchanging 
with  7  warp-threads  interlaced  on  plain  weave. 

In  weave  Fig.  729  the  same  principle,  that  of  using  each  pick  for  rib-float  and  face-pick,  is 
observed.  For  face-weave  a  common-twill  is  used.  Repeat:  19  warp-threads  and  19  picks. 
Rib-float  is  9  threads,  and  interlaces  in  warp  for  face  ^ — ? — j — - — -i  =  'O  threads. 


146 


Another  method  of  producing  rib-weaves  is  to  combine  regular  double  cloth  at  certain 
places  with  a  single  cloth.  In  such  cases  the  fabric  when  forming  double  cloth  will  not  be 
stitched  together,  as,  for  example,  weave  Fig.  730.  Warp-threads  i,  2,  3  and  4  form  a  common 
plain  rib-weave  or  single  cloth,  while  warp-threads  5  to  12  interlace  (without  binding)  with  the 
filling  on  the  regular  "  double  plain."    Repeat  of  weave:  12  warp-threads  and  4  picks. 

These  rib-effects  in  double  cloth  can  also  be  produced  entirely  by  the  binding  of  both 
single-cloth  fabrics.  It  may  be  arranged  to  form  ribs  in  the  direction  of  the  warp  and  effects  in  a 
diagonal  direction  as  shown  in  Fig.  731.  Repeat:  24  warp-threads  and  24  picks.  ■  represents 
the  weave  for  regular  double-plain  and  n  shows  the  stitching  of  both  fabrics  in  a  diagonal  direc- 
tion for  the  required  rib. 

Another  step  for  producing  rib-effects  in  double  cloth  is  taken  by  exchanging  the  face-cloth 
with  the  back,  and  the  back  with  the  face.  This  method  of  exchanging  may  be  arranged  to  run 
warp-ways  (vertical)  or  in  a  diagonal  direction.  For  illustrating  this  method  Fig.  732  has  been 
designed.    Repeat :  16  warp-threads  and  16  picks. 

Fabrics  produced  by  means  of  weaves  designed  on  the  regular  double-cloth  system,  such  as 
weaves  Figs.  730,  731  and  732  and  other  similar  weaves,  do  not  have  the  rib-effect  appear 
so  prominent  as  in  the  case  of  the  preceding  weaves,  all  of  which  contain  the  peculiar  pick 
known  as  rib-pick,  rib-float,  etc.,  and  which  assists,  for  the  reasons  given,  to  such  a  great  extent  in 
making  tlie  rib-effect  prominent. 

THREE-PLY  FABRICS. 

It  will  be  readily  understood  by  any  one  that  has  carefully  studied  the  structure  of  two-ply 
fabrics  that  by  the  same  method  and  principles  employed  in  combining  two  single  cloths  into  one 
fabric,  known  as  two-ply  or  double  cloth,  three  such  single-cloth  fabrics  can  also  be  combined 
into  one  fabric. 

In  the  construction  of  a  3-ply  fabric  a  regular  set  of  zvarps  and  filling  for  each  of  the  three 
single  cloths  is  rcqtiircd,  thus  dealing  with  three  systems  of  warp  a?id  three  systems  of  filling  in 
designing.  To  impart  a  more  perfect  understanding,  the  construction  of  a  3-ply  fabric  from  its 
beginning  to  the  finished  weave  is  shown,  and  for  this  purpose  three  single-cloth  fabrics  inter- 
laced on  the  plain  weave  are  selected. 


□□□□□□□□□□□□□□□□ 
□□□□□□□□□□□□□□□a 

lOiBDaaUDHDCDDnHDa 

□□□□□□□□□□□□aDDa 
□□□□□nccjaDanoaDa 

'HBaDBaCnDCHDDCOG 

□□□□□□□□□□□□□□□a 
□□□□□□□□□□□□□□□a 

••■■□□□□□BaDDDDHDa 

□□□□□□□□□□□□Dam 

□□□□□□□□□□□□□□GD 
IBBaDBrjDDDDBDDDna 

□□□□□□□□□□□□□□□G 
□□□□□□OfDDDGDDDna 
□□□□BanBDDBDDBDD 

□□□□■□□■□□■□□■□a 


1 


10 


Fig.  733. 


□□□□□□□□□□CD 

"□□□□□□□□□□□a 
□□□BLiaaa^BDn 

CCD"  \  '  ^.n 
B  B  J 

S|_  „  r.  - 


Fig.  734. 


□D. 


",□□□■ 


l_'--..B.  ,1  -Lij^  BOG 
SGGBUGduDHDGG 

□QaoGQaEBD^aa 

Ha^GGCBGGGQG 

3        6        0  IS 

Fig.  735- 


ma 

UU:-  B 


Fig.  736. 


Fig.  733  illu.strates  the  first  set  of  the  plain  weave,  or  the  weave  for  single  cloth  number 
one  (h  type).  Warp  and  filling-threads  used  are  numbered  on  the  left  side  and  the  bottom  of 
the  design,  and  are  indicated  by  m  type.  "One  thread  taken  and  two  missed"  in  each  system  for 
the  other  two  single  cloths. 

Fig.  734  illustrates  by  E  on  warp-threads  2,  5,  8,  11  and  on  the  corresponding  picks,  the 
interlacing  of  the  single  cloth  number  two  (plain  weave). 

In  Fig.  735  the  interlacing  of  the  third  or  last  single  cloth  is  shown  on  warp  threads  3,  6,  9, 
12  and  the  same  numbered  picks  (■  the  type  used). 

Next,  raise  for  the  picks  of  the  lower  single  cloth  (in  the  3-ply  structure)  each  warp- 
thread  of  the  two  upper  cloths  (face  and  interior  cloths) ;  also,  raise  the  warp-threads  of  the  face 


147 


cloth  on  the  interior  picks.    This  method  of  operation  is  illustrated  (successively  from  Fig.  735) 
in  weave  Fig.  736  by  m  type. 
In  this  is  shown  : — 

Pick  I,  first  pick  of  face  cloth. 

"    2,    "         "      interior  cloth  (face  raised). 

"   3,    "         "      back  cloth  (face  and  interior  raised). 

"   4,  second  "      face  cloth. 

"5,     "       "      interior  cloth  (face  raised). 

"   6,     "       "      backed  cloth  (face  and  interior  raised). 
And  thus  the  repeat :  6  warp-threads  and  6  picks,  allows  2  warp-threads  and  2  picks  for  the 
structure  of  each  fabric.    Weave  Fig.  736  thus  produces  three  distinct  single  cloths  resting  in  the 


loom  after  being  woven  one  above  the  other,  as  shown  in  the  sectional  cut  in  diagram,  Fig.  737. 
The  next  process  is  the  combining  of  these  three  single  cloths  into  one  fabric,  which  is 
i2Bq^nt '  i- T        technically  known  as  the  "  stitching."  To  effect  this  in  a  proper  manner  combine  the 
.  backinsf-cloth  to  the  interior  cloth,  and  this  in  turn  to  its  face. 

[         "  In  weave  Fig.  738  this  method  of  "  stitching "  is  clearly  indicated.    In  this 

I  i  d  figure  the  m  type  illustrates  the  three  single-cloth  fabrics,  equal  to  the  weave  illus- 

"  °         ™B  trated  in  Fig.  736  by  four  different  characters  of  type.    In  Fig.  738  a  illustrates  the 
Fig.  738.      stitching  of  the  interior  cloth  to  the  facc-cloth,  and  the  b  the  stitching  of  the  back- 
cloth  to  the  interior  cloth. 


Fig  739. 


Diagram  Fig.  739  illustrates  the  section  of  a  3-ply  fabric  interlaced  by  means  of  the  weave 
previously  shown  (Fig.  738). 

FOUR  AND  FIVE-PLY  FABRICS. 

Sometimes  it  is  desired  to  have  produced  fabrics  constructed  out  of  more  than  three  single 
cloths. 

Weave  Fig.  740  clearly  illustrates  the  construction  of  a  4-ply  fabric. 
The  ■  type  represents  the  interlacing  of  the  four  single  cloths. 


148 


■  on 

ffl  on 
B  on 
completes 
"  four-ply. 


picks  I  and  9  illustrates  the  stitching  of  the  second  cloth  to  the  face  (or  first)  cloth, 
picks  2  and  10  represents  the  stitching  of  the  third  cloth  to  the  second, 
picks  7  and  15  illustrates  the  stitching  of  the  back  cloth  to  third  cloth,  and  which 
the  stitchings  of  the  four  single-cloth  fabrics  into  one,  and  technically  classified  as 


■B         ::  a 

■□I  :  .  13 

I  ^  "  i.  3 

'3 

a 

■  3 

Mil  J 

mc  .3 
□l;  a 
me-i .  ,  ,  \  ^    :  •  .  .  /4j 

HBH^yUJUHt  i  -J  jbji  l_iU 

■■□□■□□□■■aDBDaa 
iHBDaaaaDHaQQDiaaLi 


1 

u 

t 

1 

c 

.a 
,3 

t 

F 

1 

u 

ss 

1 

1 
C 

JL_i 

JO 

t 

'.\-ia 

mi .  ' 

na 

m 

Mi  ;j,  .1  Jti  . 

a 

I 

JQ 

Fig.  740 


Fig.  741. 


Weave  Fig.  741  shows  the  construction  of  a  5-ply  fabric. 

B  type  represents  the  interlacing  of  the  five  single  cloths. 

■  type  on  picks  i  and  1 1  illustrates  the  stitching  of  cloths  i  and  2. 

®  type  on  picks  2  and  12  illustrates  the  stitching  of  cloths  2  and  3. 

H  type  on  picks  8  and  1 8  illustrates  the  stitching  of  cloths  3  and  4. 

B  type  on  picks  9  and  19  illustrates  the  stitching  of  cloths  4  and  5. 

And  thus  closes  the  complete  stitching  of  the  four  single-cloth  fabrics  into  one,  technically 
known  as  "  five-ply." 


Pile  Fabrics. 


Textiles  classified  as  "  pile  "  fabrics,  form  a  separate  sub-division  of  woven  articles,  and  are 
characterized  by  the  soft  coverin<r  which  (generally  overspreads  and  conceals,  to  a  great  extent, 
the  interlacing  of  the  warp  and  the  filling.  In  this  division  of  textiles,  are  to  be  found  some  of 
the  grandest  and  most  complicated  products  of  the  loom.  In  every  pile  fabric  one  series  of 
threads  is  employed  for  producing  the  ground  of  the  fabric,  while  a  second  forms  the  pile,  so  that 
two  distinct  systems  of  warp  or  of  filling  are  always  necessary  in  the  manufacture  of  these  fabrics. 

Technically,  they  are  divided  into  pile  fabrics  in  which  the  pile  is  produced  by  an  extra 
filling,  and  pile  fabrics  in  which  the  pile  is  produced  by  a  separate  warp  in  addition  to  the 
ground  warp.  The  greatest  variety  of  effects  can  be  produced  in  the  latter  sub-division,  and 
fabrics  produced  on  this  principle  of  weaving,  find  a  very  extensive  use. 

Pile  Fabrics  Produced  by  Filling. 

Velveteens,  Fustians,  Corduroys. 

These  fabrics  require  for  their  construction  one  kind  of  warp;  also,  in  most  fabrics,  one  kind 
of  filling.  If  one  kind  of  filling  is  used  the  same  is  consequently  employed  for  the  "  pile  "  picks  and 
the  "ground  "  or  "  foundation  "  picks  of  the  pattern.  If  two  kinds  of  filling  are  used,  one  kind  is 
employed  for  the  pile  and  the  second  kind  produces  the  foundation-cloth.  In  preparing  the  design, 
the  arrangement  for  the  ground  and  pile  picks,  is  either  alternately  one  pick  pile,  one  pick  ground, 
or,  two  picks  pile,  one  pick  ground,  or,  three  picks  pile,  one  pick  ground,  four  picks  pile,  one  pick 
ground,  etc.  The  arrangement  indicated  as  the  second  method  is  the  one  most  generally  used. 
For  the  ground  structure  of  the  fabric,  "  the  plain-weave,"  or,  "  the  double  plain,  warp-ways,"  or, 
"  the  3-harness  twill,"  or,  "  4-harness  even-sided  twill,"  are  the  ones  most  frequently  used.  In 
any  of  these  cases  the  filling  for  the  pile  is  floating  over  3,  5,  7  or  more  warp-threads. 

The  floats  of  the  pile  are  afterwards  cut  open  with  a  knife  constructed  especially  for  it.  This 
method  of  cutting  the  pile  for  the  fabrics  is  old,  and  dates  back  to  the  beginning  of  the  fifteenth 
century. 

Cutting  the  Pile  by  Hand. 

This  procedure  is  as  follows :  The  fabric  is  stretched  on  the  cutting  table,  which  has  (in  most 
instances)  a  length  of  from  55  to  70  inches,  and  is  fastened  to  it  by  means  of  clamps.  Next,  the 
cutter  takes  his  knife  for  cutting  the  pile,  which  consists  of  a  long  steel  bar  formed  into  a  very 
sharp  knife  at  its  end,  and  provided  with  a  guide,  consisting  of  a  narrow  piece  of  sheet-iron 
doubled  and  forming  a  groove,  fitting  on  the  knife;  the  part  of  this  piece  of  sheet-iron  extending 
from  the  knife,  is  formed  into  a  needle,  of  a  length  which  is  regulated  by  the  length  of  the  pile  to 
be  cut.  The  cutter  inserts  the  needle  into  the  row  of  floats  which  is  nearest  to  the  selvage,  and 
pushes  the  knife  (in  direction  of  the  warp)  through  the  entire  floats  in  the  one  direction  ;  the  next 
row  of  floats  is  treated  in  the  same  manner,  and  this  is  continued  until  all  the  rows  are  cut.  In 
the  lower  grades  of  these  fabrics,  only  every  other  row  of  floats  is  cut,  and  consequently  the 
thickness  of  the  pile  is  reduced  in  proportion.  Again,  stripes  of  cut  and  uncut  pile  (regulated  as 
to  dimensions  in  width  entirely  at  will)  are  produced. 

After  cutting  open  the  pile  over  the  surface  of  the  table,  the  clamps  are  opened  and  the  next 
length  (of  55  up  to  70  inches)  is  fastened.  This  process  is  repeated  until  the  entire  piece  has  its 
pile  cut.  Every  length  of  the  table  generally  calls,  in  the  lower  qualities,  for  500  to  600  runs, 
while  the  better  grades  require  from  800  to  1200  runs  in  a  single  width  of  those  fabrics.  This 

(149) 


150 


cutting  by  hand  is  naturally  a  very  slow  and  expensive  job.  (Flour-paste  is  often  applied  to  the 
back  of  the  fabric,  so  as  to  make  the  cutting  of  the  pile  easier  and  safer.) 

Of  late  years,  machines  have  been  invented  to  cut  this  pile  and  have  proved  successful  to  a 
certain  extent. 

After  cutting  the  pile  and  subsequently  mending  any  imperfections,  either  produced  during 
the  process  of  weaving  or  cutting,  the  fabric  is  turned  over  for  the  dyeing  and  finishing. 

Designs  for  Weaving  these  Fabrics. 

As  mentioned  already,  one  warp  is  used  both  for  interlacing  the  ground  and  binding  the  pile- 
filling.  The  ground-weave  is  generally  either  □■  or,  □□■B  or,  ■□■  or,  "aS  etc.,  while  the  pile-filling 
is  floating  3,  5,  7  or  more  ends. 


■□□□■□□a 
□^■^^r^■□ 

n  □ 


□□■□□nan 


Fig.  742. 


Fig.  743- 


Fig.  744. 


Fig.  742  represents  a  common  weave  used  for  these  fabrics,  and  constructed  with  a  texture 
of  4  warp-threads,  6  picks  in  one  repeat  of  the  pattern.  ■  are  the  pile-picks,  □  the  ground-picks. 
Pile,  I  up,  3  down.    Ground,  "  plain,"  two  picks  pile  to  alternate  with  one  pick  ground. 

Fig.  743  represents  the  sectional  cut  of  the  woven  fabric  before  the  pile  is  cut. 

Fig.  744  represents  the  corresponding  section  with  the  pile  cut.  The  letters  and  numbers  in 
both  designs  are  identical. 

Pick  A  is  the  ground  pick,  i  up,  i  down,  to  be  exchanged  in  pick  4  (not  represented  in  the 
drawing)  by  i  down,  1  up.  Picks  B  and  Care  the  pile  picks,  which  are  duplicated  in  every  repeat 
of  the  weave.  Arrow  6'  in  Fig.  743,  represents  the  place  for  the  cutting  of  the  pile  for  pick  B. 
S,  in  Fig.  744,  represents  the  pile  as  cut.  Arrow  5\  in  Fig  743,  marks  the  place  and  direction  for 
cutting  the  pile  for  pick  C.  5\  in  Fig.  744,  represents  the  pile  as  cut.  In  Figs.  743  and  744 
the  ground  pick  is  shown  outlined,  while  Fig.  743  has  the  one  pile  pick  B  marked  black,  and 
the  other  pick  6"  illustrated  as  shaded.  Fig.  744  illustrates  both  pile  picks,  and  equally  represen- 
ted in  black. 

This  change  in  Fig.  743  has  been  made  to  simplify  the  construction  of  the  fabric  and  for 
the  benefit  of  the  novice  in  designing. 


EGi-'r-aHf-n 


Fig. 


745- 


□nnBaDnoDBoa 

m  m  ' '  '  n 
I     ■         •  1 

6b"  "         "  '1 


iDaaaLHL]aLjBL,a 

1  0| 

Fig.  746. 


■ 

■'  '  i 

■ 

■  ] 

n 

■' 

■ 

■ 

1 

■  i  1 

■ 

■ 

m 

i:a  .d 

IjL 

mi 

1  6 

Fig.  747. 


■□□□□□□□■□□Dl  JUUU 

□□^□■□□□□□□□■□na 
□^■□□□□□□□■□□□Da 

□□□□□□■□□□DDODBD 

El  -□I^HOnDBDHijHDBn 
■  •  ^□'□■□□□□□□D 
[  '  .  I  BC 

I  I  '■:  a  j_:ciDaDBCDann 

□L  lUlJuCBGDDDDDDBD 
igBGBDBDBDBDBDBDa 


Fig.  748. 


Fig.  745. — 4  warp-threads,  6  picks  in  l  repeat.  ■  equal  pile-picks,  n  equal  ground-picks. 
Pile  is  produced  on  i  up,  3  down.  Ground  is  produced  on  the  common  4-harness  rib-weave  ^. 

Fig.  746  represents  a  weave  executed  on  6-harness  and  6  picks  repeat ;  using  for  pile-filling 
(■)  I  up,  and  5  down,  while  the  ground-cloth  is  formed  on  the  plain  (b). 

Fig.  747  is  designed  for  6-harness,  with  9  picks  in  one  repeat ;  ■  for  pile-filling,  b  for  ground- 
filling.    Pile,  I  up,  5  down.    Ground  weave,  3-harness  twill,  warp  up. 


151 


Fig.  748  represents  a  draft  for  a  velveteen  fabric,  having  4  picks  of  pile-nlling  to  I  ground- 
pick  ;  the  pile-filHng  floating  over  7  warp- threads.    The  ground  is  interlaced  on  plain. 

A  careful  examination  of  this  draft  will  show  the  possibility  of  obtaining,  by  means  of  the 
latter,  a  fabric  which  will  take  up  the  filling  easily  and  yet  hold  the  pile  very  strongly  to  the 
ground-fabric ;  a  point  which  is  of  great  advantage  in  producing  a  firm  and  perfect  fabric ;  a  velvet 
resisting  the  wear  these  fabrics  are  subjected  to  so  frequently.  This  draft  is  designed  for  a  high 
number  of  picks  to  one  inch ;  therefore,  if  the  weight  should  have  to  be  lowered  on  account  of 
a  considerably  less  number  of  picks,  this  weave  must  be  changed  accordingly,  so  as  to  bind  differ- 
ently. For  example,  take  picks  7,  8,  9,  10,  and  move  the  raisers  one  thread  toward  the  right 
hand.    If  a  sufficient  number  of  picks  are  not  in  a  fabric  to  warrant  the  binding  of  the  pile  solidly 


□□□□□■□■□r,' 

■ 

■ 

» 

m  jG 

□□□■□■iJ.lDD  1 

nnHi'i:  '"i.nBna 

■  :■ 

!□ 

m 

BQQ  a'  :a  -a  t 

DmCM 

□  UL    .    ■  ■ 

■ 

::  ai 
a 
m  .13 

:j  ■ 

■ 

□  □■  ■ 

m  m 

]□ 

oj.  mm 

,0 

mjm 

-.□ja 

Fig. 

749- 

i2Ba"nn""na  isb -----'^^'-b^^.'--'  to 

i  ■  .      ■  J 

□1'  '■         ■  ;  Jj  a::  , 

■J       ■     ijQ  snnnaaaannaafj  ■            ■        .  J 

BCiaa  aa  aaja  en  wr'r.-fmoa  <-■      ■          •  bjjJ 

ca    m         ma  am       -  m  ■  too  b    laa    an  aauua 

Dcm         m  B  ,aa  aa  r.aaa  m             m  ]jaa 

MDl    .      ■  j     iJ3  Dl;        ■        ,  "]□■  L  ■     .■               .   ■  jDD 

□BQUBQ-Ha-Joa  □    ■         i«jn  ODaa.;  aa    aa  jQaa 

□□□□■□□JJOBQ  Daa  aa  aajaa  j/JBajj^jaaa 

□□■□□□□□■□□a  □■  J  ijuGJBDna 

iBDmaQBoaDDD  iDu. ,  .  ■  ..j_jgb  laBBGaaaDGaajaaaa 

16  1             li  16 

Fig.  750.  Fig.  751.  Fig.  752. 


to  the  ground-cloth,  by  means  of  binding  the  former  to  the  latter  with  one  end,  two  ends  up  and 
separated  by  one  thread  down,  must  be  used.  In  this  manner  weave  Fig.  749  is  executed,  having 
five  plush-picks  to  each  ground-pick.  Repeat:  10  warp-threads,  and  12  picks.  The  float  of  the 
pile  is  over  7  threads,  and  each  pile-pick  is  interlaced  to  the  ground  fabric  by  i  up,  I  down,  i  up. 
All  the  pile-picks  interweave  under  the  same  warp-threads  (use  every  alternate  warp-thread), 
while  one  of  the  two  ground-picks  intersects  over  the  latter.  This  arrangement  in  the 
design  allows  the  picks  to  go  easy  in  the  fabric  and  naturally  adapts  itself  for  high  filling 
textures. 

The  proportion  of  the  pile-picks  to  the  ground-picks  is  always  regulated  by  the  required 
closeness  of  the  pile. 

Fig.  750  shows  the  design  for  a  3-harness  (-  j)  twill-ground  in  connection  with  3  pile-picks 

to  I  ground-pick.    The  design  repeats  with  6  warp-threads  and  12  picks. 

Fig.  751  has  2  picks  pile,  I  pick  ground;  the  design  repeating  with  6  warp-threads  and 
9  picks.  Designs  Figs.  748,  749,  750  and  75 1  have  pile-picks  indicated  by  s  and  ground-picks 
indicated  by  h. 

izBQonaGDODBnnoaDDDa 

□□□□□□■□□DDGDnDBClG 

BanaaaaaGBa'  aa'^'am 


□□□■aGGDGDDDBDDDDa 
□CDriuQBaDDDGGDDBDa 

B  n  a  ■lananaGBr'ao 


□l,  I 

□r: 
B:a: 

■iGl 

d;j-  I 
nuL 

IDBBi 


aa  a 

.  iLjuQ 
I  JGDD 
.]■□□ 

..aBGBB 


□GOnGBnBnnnGODQBlDBGn 

nQ'^anana'  la^a  ;ana'"iaGa 
mem  I  ' .  ■  ■  '  "jQ 
nu      mm  mm  hg 

iaDa_a_a  a  a  a_,a_a_aG 


1 


Fig.  753. 


Fig.  754. 


Fig.  755. 


Fig.  752  represents  the  float  ^  ^  for  the  pile,  (■)  interlaced  in  a  ground-fabric  woven  on  the 

4-harness  even-sided  twill  (a).    The  arrangement  of  the  pile  towards  the  ground  is  2  to  i. 

Fig.  753  illustrates  the  plain  ground  in  connection  with  the  pile-floating,  g.     3  picks 

pile  to  I  pick  ground;  ■  for  pile,  b  for  ground,  in  design.  Repeat  of  weave:  18  warp-threads,  S 
picks. 

Fig.  754  shows  one  of  the  most  frequently  used  designs  on  a  repeat  of  9  warp-threads 
and  12  picks.  3  pile-picks  to  i  ground.  ■  for  pile,  b  for  ground.  Float  of  the  pile- 
filling  1  -3. 

Fig.  755  illustrates  the  plain  ground  with  the  pile  j — 5— 7.  2  pile-picks  to  alternate  with  i 
ground-pick.    Repeat  of  design:  10  threads  in  warp  and  6  picks.    ■  for  pile,  a  for  ground. 


152 


Having  given  a  complete  idea  of  the  construction  of  plain-faced  fabrics,  our  attention  is 
next  directed  to  corduroys. 

Corduroys. 


These  fabrics  have  stripes  running  the  length  of  the  stuff,  but  may  also  have  them  running 
in  a  diagonal  direction.  Again,  they  may  form  figures  of  any  description.  If  forming  the 
regular  cords,  they  may  also  be  made  to  vary  in  widths. 

Weave  Fig.  756.  lo-harness  and  6  picks 
repeat  of  pattern.  Ground-fabric  is  a  plain-weave, 
pile-float,  ^ — 5 — - — 3.  2  pile-picks  to  I  ground- 
pick.    ■  for  pile,  t3  for  ground. 


6HDOnnnBnnnBrnnnrnH  -n^ 

amc  m  .       u  m 

HCH      a  :3  aa 

■CiL         ■         ■  ■  ..Jj 

lipHQHLJBUHLIIgLjauBUHGaaH 


sBanaacDBaiiDDBajancDBCDDD 
□■□□□□■□nnoDDBnnoriBQr 

■□c::,;.;:"j:::«  jni^r^B^^  ■  "^^/Ji-^Q 

^^m         "  ■    ""■  JD 
_    .    ,■        ■  , 

□■._.U_..-B  I  .Bu  ,  ..<.■!  iLjjua 

IDuaaiJUHBLIuBHULJBBUUBBUGaB 


Fig.  757. 


Fig.  756. 

Weave  Fig,  757.  12-harness  and  8  picks  repeat  of  pattern.  Ground-fabric,  a  double  plain- 
weave,  warp-ways,  pile-float,  - — ^ — - — ^.    3  picks  pile  to  I  pick  ground.    ■  for  pile,  a  for  ground 


Chinchillas — Whitneys.    (Plain  and  figured  effects.) 

These  fabrics  are  produced  upon  weaves  similar  to  those  shown  in  Figs.  570  to  572.  The  cut- 
ting of  the  pile  filling  is  done  automatically  during  the  finishing  process  by  the  "  gig,"  and  the  pile 
thus  cut  is  raised  by  the  "  whipper."  In  the  construction  of  these  weaves,  as  well  as  in  arranging 
the  texture,  little  importance  is  given  to  a  compact,  solid  interlacing  of  warp  and  filling,  especially 
as  the  condition  of  a  soft  and  spongy  nature  is  always  required  in  the  finished  fabric.  In  some  of 
these  fabrics  only  two  kinds  of  filling  are  used,  the  ground  and  the  pile  filling,  while  others  are 
made  with  three  kinds  of  filling — the  ground,  the  pile  and  the  interior  filling.  For  fabrics  of  a 
plain  character  (as  to  face)  use  weaves  such  as  the  4-harness  broken-twill,  the  5-harness  satin,  etc. 
I^'illing  for  face,  for  the  interlacing  of  the  pile  or  face  filling,  and  the  same  weave,  arranged  warp 
for  face,  for  the  ground  filling.  Such  weaves  have  been  previously  explained  and  illustrated 
in  Figs.  570,  571  and  572,  page  109. 

Regular  double-cloth  weaves  are  also  used,  arranged  :  i  end  face,  i  end  back,  2  ends  repeat  in 
warp ;  I  pick  face,  I  pick  back,  I  pick  face,  l  pick  interior,  4  picks  in  the  repeat.    For  face-weave 

the  4-harness  broken-twill  is  generally  used  (filling  up).    For  back-weave  the  ^  or  j  twill. 

On  the  interior  pick  all  the  face-warp  is  raised,  leaving  the  entire  back- warp  in  the  lower  shed,  so 
that  this  filling  will  rest  the  same  as  the  wadding  in  the  pique  fabric — between  the  face  and  back 
cloth  of  the  fabric.  The  object  of  the  interior  filling  is  to  increase  the  thickness  of  the  fabric, 
and  to  cheapen  the  cost  of  manufacture  by  using  a  low-grade  stock  for  it,  which  is  neither  visible 
on  the  face  nor  the  back  of  the  fabric. 

As  previously  mentioned,  fabrics  of  this  kind  must  have  a  soft  spongy  nature  when  finished  ; 
so  care  must  be  exercised  in  not  weaving  them  too  wide  in  the  loom,  as  but  very  little  fulling 
will  be  required.  For  the  stock  for  the  face  or  pile  filling,  select  a  fine  but  short  staple.  After 
fulling  and  scouring,  or  only  scouring,  the  fabric  is  gigged.  The  teasels  cut  the  soft  pile  filling 
in  the  centre  between  the  points  of  interlacing  of  the  latter  with  the  warp,  and  after  running  the 
fabric  over  the  "  whipper "  before  it  passes  to  the  dryer,  the  whipping  process  (beating)  raises 
each  and  every  single  float  of  filling  (fastened  by  one  or  more  ends  of  warp  to  the  fabric)  and 
produces  a  velvet  surface.  After  running  the  fabric  in  this  condition  over  the  shears,  for  the  pur- 
pose of  producing  an  even  height  of  pile,  it  is  put  upon  the  chinchilla  machine  to  have  its  velvet 
face  rubbed,  forming  chinchilla  rows  in  the  direction  of  either  the  warp  or  the  filling,  or  in  a 
diagonal  direction ;  or  forming  round  knobs  known  as  "  Ratine."  The  size  of  the  chinchilla 
effects  or  the  ratine  effect  is  regulated  by  the  height  of  the  pile,  and  this  by  the  shearing  process. 
(Two-  or  three-ply  spun  face-filling  is  of  more  advantage  to  use  than  the  equivalent  size  in 
one-thread  compound.) 


153 


Fancy  or  Figured  Chinchillas. 

These  fabrics  are  produced  by  arranging  the  floats  of  the  pile-filling  so  as  to  form  figures 
(designs)  in  the  way  that  the  above  mentioned  pile-filling  is  fastened  to  the  ground  cloth,  after 
having  its  floats  cut. 

To  illustrate  this  subject  designs  Figs.  758,  759,  760,  761,  762,  763,  764,  and  765  are  given. 


■■JQZQHBaj  J  ;  mm 


Fig.  758. 


snHnnnnnEGnanannH 


■■ 


Fic;.  759. 


'■■■■■a 

Fig.  760. 


'_"";_BBa 

aaaaaa'''''''^ 

aaaa  uaa 
aaaj:.-  ■ 

"^^'aaaaa 

'bbbbbb 

"  j 

BBB 

Fig.  761. 


Fig.  758  illustrates  the  face-weave  for  Fig.  759,  the  complete  weave. 
Repeat :  8-harness  and  8-picks. 

■  are  pile-picks,  □  are  ground-picks. 

Fig.  760  illustrates  the  face-weave  for  Fig.  761,  the  complete  weave. 
Repeat:  12-harness  and  8  picks. 

■  are  pile-picks,  □  are  ground-picks. 

Fig.  762.    Repeat :  8  warp-threads  and  8  picks. 
Fig-  763-    Repeat:  12  warp-threads  and  36  picks. 
Fig,  764.    Repeat :  12  warp-threads  and  8  picks. 

Figs.  762,  763  and  764  are  face-weaves  for  fancy  chinchillas,  to  be  arranged  either  similar  to 
those  given  in  Figs.  758  to  761  or  for  regular  double  cloth,  using  face  and  back-warp  with  pile- 


□nBBBBnnanBBBBDD 
BBBBnGaGBBBBoaaa 

nn  BBBBG.JLIGBBBB 
'  BBBB       ~"\BBBB  .  1 


BB 

BBI 
BBBB 


BBBB 

■BB.^^u^jI 
IGGGGBBI 


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Fig.  762. 


Fig.  763. 


Fig.  764. 


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IB       aa  aaa 

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13 

Fig.  765. 


filling  interior  and  backing.  Fig.  765  illustrates  a  specimen  of  the  chinchilla  weave,  specially 
adapted  for  producing  chinchilla  rows  lengthways  in  the  fabric. 


CHENILLE. 

Chenille  is  a  fringed  thread  and  is  used  either  for  filling  in  such  fabrics  as  curtains  and  rugs, 
or  it  is  used  in  its  first  woven  state  for  ornaments  such  as  trimmings,  fringes,  etc.,  for  ladies'  wear 
as  well  as  for  decorating  purposes.  (In  fringe-weaving  the  chenille  part  of  the  fabric  is  some- 
times produced  at  the  same  time  that  the  heading  of  the  fabric  is  woven.  We  will  later  on 
describe  this  separate  method.) 


154 

When  chenille  is  used  as  fiUing,  its  fibres  extend  forward  in  every  direction  through  the 
perforations  of  the  fabric,  producing  a  fur-like  surface  on  the  goods  it  is  appHed  to.  As  a  general 
rule  for  these  fabrics,  the  chenille  forms  the  main  part  of  the  fabric.  The  remaining  part,  if  warp, 
or  warp  and  filling,  is  only  used  for  holding  the  fabric  in  its  position.  There  are  two  methods 
commonly  used  in  weaving  this  chenille. 

1st.  Using  4  warp-threads  on  common  plain  weave.  2d.  Using  2  or  3  warp-threads  on  the 
gauze  weave.    A  short  sketch  of  each  method  is  given. 

Chenille  Produced  by  Usmg  ^  Warp-threads  on  Plain  Weave. 

Procure  a  set  of  harness  using  a  plain  weave  (2,  4,  6  or  more  shafts).  In  this  draw  the  warp 
the  same  as  in  regular  cloth.  By  drawing  the  warp  in  the  reed  always  put  the  four  warp 
ends,  which  have  to  work  together,  in  one  dent,  leaving  as  many  dents  empty  as  required,  accord- 
ing to  the  size  of  the  chenille.  The  filling  (which  is  introduced  in  the  ordinary  manner)  is  bound 
in  plain  at  the  places  where  the  four  warp-threads  in  one  dent  are  situated  (see  I,  II,  III  in  Fig. 
766)  and  floated  at  the  distances  where  no  warp-threads  are.  After  weaving  the  fabric  in  this 
manner  it  is  cut  in  the  direction  of  the  arrows  .S  and  S^. 

Two  methods  are  employed  for  cutting  chenille.  It  is  done  either  on  the  loom  during  the 
weaving  operation,  or  after  the  fabric  leaves  the  loom. 


Fig.  766. 


Every  set  of  4  warp-threads  forms  one  strijo  of  chenille,  hence  as  many  sets  as  are  used 
over  the  width  of  the  fabric,  so  many  strips  are  obtained.  In  figure  fabrics  where  each  strip  of 
chenille  is  required  to  be  of  a  different  arrangement  of  colors  for  forming  the  design,  the  number 
of  sets  used  in  weaving  the  chenille  indicates  the  number  of  fabrics  to  be  set  afterwards  in  the 
following  process.  For  example  :  in  weaving  chenille  for  dados  for  turcoman  curtains,  suppose 
140  sets  of  strips  are  woven  at  the  weaving  of  the  chenille,  and  every  pick  of  the  dado  is  to  have 
a  different  arrangement  of  colors,  the  result  will  give  us  70  pairs  of  curtains  to  be  set.  After 
cutting  the  chenille  into  strips  they  are  twisted,  every  4  threads  of  warp  being  thus  formed  into 
one,  with  the  filling-threads  extending  from  it  in  every  direction,  and  giving  it  the  appearance  of 
a  fringed  thread.  This  twisting  tends  to  hold  the  interwoven  filling  firmly  in  the  warp-threads, 
and  hence,  adds  strength  to  the  fabric. 

Chenille  Produced  by  Using  j  Warp-threads, 

The  process  of  manufacture  here  is  the  same  as  in  chenille  made  out  of  4  warp-threads  on 
the  common  plain  weave.  The  only  difference  consists  in  employing  but  3  warp-threads  for  the 
centre  of  every  part  of  the  chenille  strips,  and  interweaving  the  filling  in  gauze  instead  of  plain. 
This  process,  which  certainly  will  be  found  more  expensive  than  the  first,  will  in  return,  give  a 
great  deal  more  strength  to  the  fabric  by  holding  the  filling  yet  more  firmly  in  the  warp,  and 


155 


making  the  cutting  easier  and  safer.  The  process  of  twisting  the  chenille  strips  after  cutting,  as 
observed  in  the  former  fabric,  will  be  the  same  in  this  case.  (Chenille  produced  with  2  warp- 
threads  is  explained  later  in  a  special  chapter  on  Gauze  Weaving.) 

Arrangement  of  Design  for  Weaving  Figured  Chenille. 

After  the  design  is  finished  on  the  squared  paper,  it  is  cut  into  strips  in  the  direction  of  the 
filling,  as  every  line  has  to  be  woven  separately  for  the  chenille  strips.  To  explain  this  process, 
Figs.  767  and  768  are  designed. 

Fig.  767  illustrates  the  complete  design  (border  in  four  colors). 

Fig.  768  represents  one-half  repeat  of  the  design,  cut  into  strips  in  the  direction  of  the  filling. 


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Fig.  767. 


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Fig.  768. 


In  examining  Fig.  767  it  is  found  that  35  picks  are  required  for  one  repeat.    The  design 
itself  represents  a  "  point  figure,"  picks  i  to  18  and  back  again.    Indicating  the  colors  by  type 
as  follows:  □  for  straw  color;  *  for  red;  a  for  maroon;  ■  for  blue-green,  we  have  : 
Strip  I. — All  straw  color. 
"    2. — One  pick  straw,  one  pick  blue-green,  20  times  for  one  repeat. 
"     3. — All  blue-green. 
"    4  and  5. — All  straw  color. 


5  picks. 

straw. 

7  cont'd. —  I 

pick. 

blue-green. 

3  " 

blue-green. 

I 

ti 

red. 

13  " 

straw. 

I 

ti 

blue-green. 

2  " 

blue-green. 

3 

n 

straw. 

3  " 

straw. 

I 

a 

blue-green. 

I  " 

blue-green. 

3 

(i 

straw. 

3  " 

straw. 

I 

ti 

blue-green. 

2  " 

blue-green. 

I 

red. 

8  " 

straw. 

I 

« 

blue-green. 

I 

« 

straw. 

—4  picks, 

straw. 

2 

« 

blue-green. 

I  " 

blue-green. 

4 

straw. 

3  " 

red. 

I  " 

blue-green. 

Strip  8.—  I 

pick. 

blue-green. 

8  " 

straw. 

1 1 

(f 

straw. 

2  " 

blue-green. 

I 

t( 

blue-green. 

I  " 

straw. 

3 

t( 

straw. 

156 


8  cont'd. —  I  pick,  blue-green. 

2  "  red. 

2  "  blue-green, 

I  "  red. 

1  "  blue-green. 

2  "  straw. 

3  "  blue-green. 
2  "  straw. 

I  "  blue-green. 

1  "  red. 

2  "  blue-green. 

2  "  red. 

I  "  blue-green. 

3  "  straw. 


Strip  9. 


Strip  lo.- 


-4  picks, 

Straw. 

I 

<( 

blue-green. 

3 

(< 

straw. 

I 

blue-green. 

6 

straw. 

I 

blue-green. 

I 

red. 

I 

maroon. 

4 

red. 

I 

i( 

blue-green. 

7 

straw. 

I 

blue-green. 

4 

red. 

I 

maroon. 

I 

red. 

I 

a 

blue-green. 

2 

straw. 

-3  picks, 

straw. 

I 

it 

blue-green. 

I 

if 

red. 

I 

u 

blue-green. 

I 

red. 

I 

n 

blue-green. 

I 

red. 

I 

blue-green. 

5 

straw. 

I 

blue-green. 

2 

red. 

I 

it 

maroon. 

1 

It 

red. 

I 

i( 

maroon. 

I 

it 

red. 

3 

it 

blue-green. 

10  cont'd. — 3  picks,  straw. 

3  "  blue-green. 

I  "  red. 

I  "  maroon. 

I  "  red. 

1  "  maroon. 

2  "  red. 

1  "  blue-green. 

2  "  straw. 


-4  picks. 

straw. 

I 

blue-green. 

I 

a 

red. 

I 

it 

blue-green. 

I 

tt 

red. 

I 

it 

blue-green. 

7 

strav/. 

I 

blue-green. 

2 

it 

red. 

I 

it 

blue-green. 

4 

tt 

red. 

I 

it 

blue-green. 

I 

straw. 

I 

blue-green. 

I 

i  i 

straw. 

I 

i( 

blue-green. 

4 

a 

red. 

I 

H 

blue-green. 

2 

it 

red. 

I 

blue-green. 

3 

it 

straw. 

■4  picks, 

straw. 

I  " 

blue-green. 

I  " 

maroon. 

I  " 

red. 

I  " 

maroon. 

I  " 

blue-green. 

6  " 

straw. 

2  " 

blue-green. 

I  " 

red. 

I  " 

maroon. 

2  " 

red. 

4  " 

blue-green. 

:) 

straw. 

4  " 

blue- green. 

2 

red. 

1  " 

maroon. 

I  " 

red. 

157 


12  cont'd. — 2  picks,  blue-grcen. 


Strip  1 3. 


16  cont'd. 


2  " 

0  L 1  d  W  . 

-5  picks 

straw. 

3  " 

blue-green. 

6  " 

straw. 

I  " 

blue-green. 

5  " 

red. 

I  " 

blue-green. 

3  " 

straw. 

I  " 

blue-green. 

1  " 

0  LI d \V  , 

I 

blue-green. 

3  " 

straw. 

I  " 

blue-green. 

5  " 

red. 

I  " 

blue-green. 

I  " 

straw. 

Strip  14. — 14  picks,  straw. 


blue-green, 
red. 

blue-green. 

straw. 

blue-green. 

straw. 

blue-green. 

red. 

blue-green, 
straw. 


Strip  15. — 6  picks,  straw. 


I 

blue-green. 

1 1 

n 

straw. 

I 

II 

blue-green. 

I 

II 

red. 

I 

II 

blue- green. 

2 

II 

straw. 

3 

blue-green. 

I 

IC 

maroon. 

3 

11 

blue-green. 

2 

II 

straw. 

I 

II 

blue-green. 

I 

II 

red. 

I 

II 

blue-green. 

5 

II 

straw. 

Strip  16. — 5  picks,  straw. 

I  "  blue-green. 
I     "  red. 


Stri 


P  17- 


. —  I 

pick. 

blue-green. 

6 

straw. 

II 

blue-green. 

I 

II 

straw. 

4 

It 

blue-green. 

I 

11 

straw. 

2 

It 

blue-green. 

I 

II 

red. 

I 

it 

blue-green. 

I 

11 

red. 

2 

II 

blue-green. 

I 

II 

straw. 

4 

II 

blue-green. 

I 

II 

straw. 

2 

J 

It 

blue-green. 

I 

straw. 

— 2 

picks, 

blue-green. 

2 

(( 

straw. 

ti 

blue-green. 

ii 

red. 

maroon. 

( 1 

red. 

It 

blue-green. 

Strip  18.— 


straw. 

"  blue-green. 

"  red. 

"  blue-green. 

"  straw. 

"  blue-green. 

"  red. 

"  blue-green. 

"  red. 

"  blue-green. 

"  red. 

"  blue-green. 

straw. 

"  blue-green. 

"  red. 

"  blue-green. 

pick,  red. 
"  blue-green. 
"  straw. 
"  blue-green. 

red. 
"  maroon. 
"  red. 
"  blue-green. 


158 


1 8  cont  d. —  I  pick,  straw.  l8  cont'd. —  i  pick,  maroon. 


I 

blue-cfreen. 

I 

red 

3 

red. 

I 

blue-green. 

I 

maroon. 

I 

(< 

maroon. 

I 

n 

blue-green. 

I 

(( 

blue-green. 

2 

a 

straw. 

2 

(< 

straw. 

1 

ti 

blue-green. 

I 

tt 

blue-green. 

2 

straw. 

2 

tt 

straw. 

I 

ti 

blue-green. 

I 

tt 

blue-green. 

I 

i( 

maroon. 

I 

tt 

maroon. 

I 

it 

blue-green. 

2 

(t 

red. 

I 

red. 

Pick  ig  will  equal  pick  17. 
which  equals  pick  i. 


Pick  20  will  equal  pick  16,  and  so  on  until  pick  35  is  reached, 


Suppose  we  have  20  picks  to  1  inch  in  the  chenille,  the 
repeat  of  the  figure  (40  picks)  will  be  2  inches,  or  22  repeats 
in  a  curtain  44  inches  wide. 

According  to  the  width  of  the  loom  on  which  we  have 
to  produce  the  chenille  filling  and  the  size  of  the  chenille  to 
be  made  we  find  the  number  of  duplicate  strips  produced  the 
same  time. 

Suppose  we  have  a  loom  weaving  one  yard  wide  in  reed, 
and  want  a  chenille  of  inch  diameter  (on  loom).  We 
ascertain  the  number  of  strips  of  each  kind  of  color-arrange- 
ment produced  at  once,  as  follows  : 

36X4=144  strips  chenille  of  the  same  color-arrange- 
ment, produced  at  the  same  time.  This  equals  72  duplicate 
strips  for  72  pairs  of  curtains. 

If  this  border  should  have  to  be  used  twice  in  each  cur- 
tain (4  strips  in  the  complete  pair)  we  must  calculate  for  36 
pairs  of  curtains,  etc. 

Another  arrangement  for  weaving  chenille  (lower 
grade)  is  illustrated  and  explained  in  the  chapter  on  cross 
weaving. 

Two  methods  of  separating  or  cutting  the  web  into 
the  required  strips,  are  in  use.  That  which  separates  it 
automatically  in  the  loom  during  the  process  of  weaving,  and  that,  the  most  generally  used, 
which  separates  the  web  after  it  leaves  the  loom  by  means  of  the 


Fig.  769. — Design  for  Chenille  Curtain. 
(Border. ) 


Chenille  Cutting  Machine. 

For  illustration  of  this  subject  the  machine,  patented  by  William  Mcllwain,  has  been  selected. 

Fig.  770  is  a  top  or  plan  view  of  it.  Fig.  771  is  a  vertical  section  in  line  xx,  Fig.  770. 
(Similar  letters  of  reference  indicate  corresponding  parts  in  both  figures.) 

A  represents  the  frame  of  the  machine,  on  which  are  mounted  rollers  BCD,  which  feed  the 
chenille  fabric  into  the  machine,  the  rollers  B  D  receiving  motion  in  the  same  direction. 

G  represents  a  transversely-extending  comb,  which  is  secured  to  the  frame  of  the  machine  at 
the  end  thereof  opposite  to  the  roller  B,  and  H  represents  a  rotary  cutter,  whose  shaft,  mounted 


159 


on  the  frame  A,  receives  motion  from  the  pulley  a.  The  cutter  H  is  formed  of  a  series  of  circular 
blades  fitted  between  teeth  of  the  comb  G,  and  washers  alternating  with  the  blades,  the  washers 
serving  to  adjust  the  distance  between  the  blades,  and  in  connection  with  a  nut  and  collar  to  clamp 
the  blades  in  position.  The  comb  is  vertically  adjustable  and  has  above  it  a  pressure  bar,  G", 
properly  secured  to  the  frame  A,  or  a  projection  thereof,  the  object  being  to  force  the  fabric 
against  the  comb  and  hold  it  firmly  and  flat  during  the  cutting  operation.    (Pressure-bar  G"  is 


Fig.  770. 


removed  in  Fig.  770.)  Mounted  on  the  frame,  or  the  attachments  thereof,  on  opposite  sides  of 
the  cutter,  are  tension-regulating  rollers  /  K.  Secured  to  the  frame,  and  at  the  rear  end,  are  trans- 
versely extending  beams  d  e,  around  which  the  fabric  to  be  cut  is  passed  from  the  roller  D  to  the 
rollers  J. 

L  represents  a  roller  at  the  top  of  the  frame  A,  and  M  represents  a  roller  on  which  the  cut 
chenille  is  wound.    Roller  M  rests  on  the  rollers  B  D,  and  has  its  frictional  contact  with  the 


Fig.  771. 


roller  adjusted  by  means  of  weighted  levers  P,  which  are  pivoted  to  the  frame  A,  and  carry 
rollers  Q,  which  are  in  contact  with  the  peripheries  of  the  heads  of  roller  M. 

Supported  on  the  base  of  the  machine,  or  on  the  floor  of  the  apartment,  is  a  fan  or  blower,  R, 
the  pipe  S  whereof  leads  upwardly  and  transversely,  and  opens  just  in  advance  of  the  cutter  //,  so 
as  to  direct  a  current  of  air  over  the  fabric  and  remove  fine  particles  of  the  same  and  dust  there- 
from.   The  chenille  fabric  to  be  cut  into  strips  is  passed  under  the  roller  B  over  the  roller  C, 


160 


under  the  roller  D,  under  the  beam  d,  under  and  around  the  beam  e,  under  and  over  the  several 
rollers  and  then  between  the  comb  G  and  bearing-plate  G",  where  the  cutter  H  acts  on  the 
fabric,  thus  severing  it  into  chenille  strips,  the  chenille  strips  then  passing  over  and  under  the 
rollers  isTand  over  the  roller  L  to  the  roller  M,  on  which  they  are  wound.  The  roller  J/ is  then 
removed,  and  the  several  lengths  of  chenille  thereon  are  re-wound  or  re-rolled  on  other  rollers  or 
spools,  and  subjected  to  further  operations. 


CHENILLE  AS  PRODUCED  IN  THE  MANUFACTURE  OF  FRINGES, 

In  fringes  and  similar  upholstery  fabrics  the  chenille  is  produced  through  the  warp,  the 
filling  taking  the  place  of  the  inside  binders.    For  a  practical  explanation  of  this  point  we  refer 


Fig.  772. 


to  Fig.  772.  In  this  illustration  we  represent  under  A  the  heading,  under  B  the  worsted,  wool 
cotton  or  silk  warp  for  producing  the  chenille.  C,  C,  C",  C" ,  etc.,  represent  the  fine  cotton 
binders  interweaving  in  the  heading  and  chenille  part  of  the  fabric  (forming  the  centre  of  the 
chenille  after  cutting).  The  arrows  at  the  right  hand  indicate  the  places  where  the  chenille  has 
to  be  cut  towards  the  heading  as  indicated  by  the  dotted  line  between  (Tand  C. 


A 


□■■amn 

■1 

'  m 

a 

B 

■ 

B 

B 

f- 

■ 

i  i 

■ 

B 

B 

H 

B 

B 

CB 

B  B 

■ 

B  B 

DB 

■ 

1 

■ 

H  B 

B  B 

1 '  • 

B 

B 

B 

B 

■ 
■ 

e 

B 

B 

■ 

■ 

B 

B 

■□!-  i 

H  B 

B 

B 

■ 

B 

B 

■□CI 

B  B 

B  ■ 

B 

B 

□■C 

H  ■ 

■     :  ■ 

■□y 

B  .  _B 

■ 

■ 

39  B 

□BCiJ 

_,B  jB^ 

_j  B 

B  . 

C 

c  ac  ac 

a 

c  ac 

bob 

C 

B 

^□i^DKioiaDianKnisiDiaDKCKnBQ 

JO 

"   " "   "        "   "  jQ 


c:  -c  ndC 

01  jDCjuQQPUCQQQ 


3aHnBniH)nB'„„.  

^rr;^fT-r-,fT-^,,7„-pp^n|^r-T;inHnKnra""«nRrHnaD 


Fig.  773. 


Fig.  773  represents  the  weave  for  a  chenille  fringe.  A  is  the  heading  of  the  fabric  and  B  the 
chenille  part.  The  width  of  heading  in  fabric  to  be  inch ;  the  width  of  chenille  fringe  to  be 
from  I  to  3  inches.    Three  ends  of  2-ply  loose  twisted  zephyrs  to  be  used  for  one  end  in  the 


161 


chenille  fringe.  Two  ends  of  2-ply  50s  cotton  used  in  ground  of  heading  for  one  end.  Two 
ends  of  2-ply  zephyr  used  for  one  end  in  figure  of  heading. 

Specimen  Dressing  of  Heading  for  Present  Example : 


10  ends  of  2-ply  50s  It.  blue  cotton  for 

^    CliUo  I  IlCQLilCb  1. 

I  " 

Gold  tinsel  " 

T  pn H 

2 

2-ply  50s  It.  blue  cotton  " 

T  " 

I  " 

Gold  tinsel  " 

T  " 

6  " 

2-ply  50s  It.  blue  cotton  " 

2  " 

2-ply  It.  blue  zephyrs  " 

1         1  3  times  over 

4  " 

2-ply  50s  It.  blue  cotton  " 

2  " 

2-ply  It.  blue  zephyrs  " 

T 

6  " 

2-ply  It.  blue  cotton  " 

I  " 

Gold  tinsel  " 

T  " 

2  " 

2-ply  It.  blue  cotton  " 

I 

Gold  tinsel  " 

T  " 

10  " 

2-ply  It.  blue  cotton  " 

5  " 

60  ends. 


Dressing  for  Fringe.    (Chenille  part.) 


for  32  heddles. 


9  ends  Zephyrs.    Blue  shade  No.  i  for  3  heddles. 


9 
12 
12 

9 
9 
12 
12 
12 


Yellow 


3 
4 
4 
3 
3 
4 
4 
4 


96  ends  Zephyrs 


for  32  heddles. 


The  H  type  in  the  chenille  part  of  the  weave  indicates  the  weave  for  the  cotton  cord  required 
to  be  interwoven  for  the  filling.  Hence  every  filling  line  in  the  design  containing  this  type  will 
require  2  separate  picks :  i  pick  for  the  heading ;  »,  ■,  and  ■  up,  □  and  a  down ;  I  pick  for  the 
chenille ;  a  up,  a,  ■,  h  and  □  down. 

The  process  of  weaving  is  clearly  indicated  in  the  drawing  Fig.  774. 

In  weave,  Fig.  773,  and  fabric  sketch,  Fig.  774,  the  letters  used  for  indicating  the  different 
systems  of  threads  correspond. 

c  stands  for  2  ends  of  2-ply  50s  light  blue  cotton  (heading). 
b  stands  for  I  end  of  gold  tinsel  (heading). 

a  stands  for  2  ends  of  2-ply  light  blue  zephyrs  (heading)  as  used  in  the  different  arrangement 
of  colors  mentioned  before.  The  arrows  in  both  (weave  and  sketch)  are  also  on  corresponding 
places. 

Fig.  775  represents  the  finished  fabric  sample.  For  the  filling  for  heading,  4  ends  of  2-ply 
light  blue  worsted  are  used.  For  filling  for  the  centre  of  chenille  strip  and  interweaving  in  the 
heading,  use  2-pIy  60s  black  cotton. 


162 


Weaves  Fig.  776  and  777  are  two  additional  specimen  designs  for  chenille  fringe. 
After  the  chenille  fringe  is  woven  and  the  heavy  cord  extracted,  the  fringe  is  submitted  to  a 
Steaming,  which  process  will  put  the  twist  into  it  as  required,  for  a  double  purpose.    A  for 
general  appearance.    B  for  strength,  so  as  to  resist  a  pulling  out  of  threads  in  the  chenille 

part. 

Lately  this  method  of  producing 
chenille  fringe  (in  certain  fancy  effects) 
has  been  patented  for  weaving  a 
double  set  of  fabrics  at  the  same  time, 
thus  separately  weaving  two  fillings 
with  two  sets  of  heading  warps,  at 
intervals,  alternately  interweaving  the 
above  mentioned  fillings  with  a  set 
of  body-warps,  and  interlacing  a  tem- 
porary filling  with  these  body-warps 
in  alternation  with  said  heading-fill- 
ings, and  then  cutting  the  body  of 
the  fabric  so  produced  between  the 
insertions  of  heading-fillings  and  re- 
moving the  temporary  filling. 

In  diagram  Fig.  778  is  illustrated 
such  a  fabric,  having  the  temporary 
filling  both  interlaced  and  liberated. 
The  body  of  the  fabric  is  cut  and  two 
distinct  fringes  are  produced,  each 
fringe  having  a  series  of  spaces,  and 
each  space  of  one  fringe  being  slightly 
wider  than  the  width  of  two  pendants ; 
the  spaces  and  pendants  alternating  in 
the  fringe. 

A  represents  two  fringes  consist- 
ing of  the  heads  a  a  and  pendants  bb. 
The  spaces  cc  between  each  two  pairs 
being  slightly  wider  than  the  width  of 
a  pair.  The  fabric  of  which  the  fringes 
are  formed  consists  of  a  body,  B,  and 
two  heads,  a  a. 

In  weaving  the  fringe  fabric  a 
cord  d  is  thrown  into  the  body  at  inter- 
vals as  temporary  weft,  after  the  pre- 
viously explained  method  of  forming 


'single 


set"   chenille-fringe  fabrics. 


Two  shuttles  are  employed  for  the  heads 
a  a,  one  for  each  head.  The  threads  e 
from  the  two  shuttles  for  the  heads  are 
separately  woven  with  the  warps  a'  a',  employed  for  these  heads,  thus  producing  two  heads, 
and  threads  e  are  alternately  and  at  intervals  shot  past  the  heads  into  and  across  the  body, 
and  woven  with  the  warps  d'  thereof,  so  as  to  bind  the  portions  of  the  body,  which  afterward 
constitute  the  axes  or  cores  of  the  pendants  of  the  fringe,  it  being  noticed  that  the  two 


163 


woven  heads  are  alternately  connected  with  the  body  by  such  threads  e  as  are  shot  into  the  body 
at  intervals.  The  cord  d  is  woven  only  with  the  warps  d  of  the  body,  and  is  introduced  therein 
alternately  with  the  filling  e,  as  shown.  When  the  fabric  is  finished,  the  body  is  cut  through 
between  the  cords  d,  midway  between  the  fillings  e,  as  usual  in  making  chenille  fringe,  thus 


Fig.  775. 

.severing  the  pendants,  and  the  temporary  filling  is  removed.  It  will  be  seen  that  by  so 
doing  said  pendants  are  separated  into  two  series,  one  series  being  connected  with  one  head 
and  the  other  series  with  the  other  head,  and  the  pendants  of  one  series  having  left  among 
them  spaces  corresponding  with  the  pendants  of  the  other  series.    These  spaces  may  be  equal 

A  B 


enoriHH 

n 

an 

a' 

an 

H 

HBP 

W- 

Rin 

ps 

H 

a 

Bp 

H 

□BO 

Has 

■ 

■ 

■ 

1 

■ 

'  B 
S3 

B  B 

1  ■ 

□  33 

n   :  i 

li 

si"      ■  : . 

•J  C9 

;s 

B  B 
B  S 

IK, 

■ 

■ 

■ 

■ 

a 

"  j 

» 

.  B 

'B  B 

_,:■}_ 

'B 

B  B 

-aQDaoaaaDaDDDDDDaLjD 

a 

B  B 

H;- 

3GH 

■ 

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HD 

mm 

: 

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HE 

n-. 

3Ba 

s 

g 

1 

■ 

■ 

■ 

■ 

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.  B 

^B  B 

a 

■ 

■ 

■ 

■ 

■  ■ 

B 

B  B 

3m 

3 

■ 

■ 

■ 

'  B 

B  B 

":aDca 

B 

B  B 

□ 

S  B 

a 

□  33 

pi  :  ! 

1 

■ 

■ 

■ 

■ 

S 

B 

B  B 

C:r:  : 

n 

H 

i  ' 

■ 

a 

■ 

■-•  B 

B  'U 
S  B 

c:^j  J-, 

.a 

\ 

a*, 

.  B 

B  B 

■□■LJ 

dD 

■ 

□□DBQ 

J 

,  ,• 

HO 

. 

£ 

jS 

HQ 

Fig.  776. 

to  one,  two,  or  more  pendants,  according  as  the  set  of  threads  e  are  thrown  across  the  body 
from  the  two  heads. 

Another  method  of  weaving  a  double  set  of  chenille  fringes  at  once,  and  with  their  pendants 
attached,  is  illustrated  in  Figs.  779  and  780.  This  method  of  operation  (patented  by  S.  Steinecke) 
consists  in  interweaving  two  separate  sets  of  heading-warps  and  one  series  of  ordinary  body- 


164 


warps  with  a  single  filling  or  series  of  picks,  and  also  a  series  of  temporary  picks  of  another 
heavier  size  filling,  which  is  removed  in  like  manner  to  that  of  the  temporary  filling  inserted  in 
fabrics  previously  illustrated. 

Fig.  779  represents  a  plan  of  the  construction  of  the  fabric,  showing  the  pendants  in  pairs 
on  the  opposite  headings,  some  of  the  fabric  being  cut  so  as  to  form  the  pendants  (as  they  appear 
when  finished)  in  pairs  on  the  lower  part  of  the  diagram. 


A 

■rn 

i  m 

■ 

m 

■m 

B 

B     <m  m 

■ 

m 

m 

■ 

m 

m 

S 

B     :   ■  ■ 

-■ 

■  m 

:■ 

m 

m 

S 

B  .   .        ■  ■ 

■ 

B 

B  ' 

□t  1 

m 

'■ 

m 

m 

B 

B        ■   ■  ■ 

■ 

■  i  i 

m 

■ 

m 

m 

■   ■  ■ 

■ 

□11 

.  m 

■ 

m 

m 

g 

■  ■  ■ 

■ 

■  i_  !  ' 

M 

■ 

m 

m 

B 

■  ■  ■ 

■ 

DM 

B  B 

■C.  r ; 

:m 

■ 

m 

u 

B  B 

■ 

□f1 

i  m 

■ 

u 

m 

■  ■  ■ 

■ 

■  _i  1 

m 

■ 

■ 

1'  .  i' 

■  ■  ■ 

■ 

1  ■ 

■ 

■ 

■ 

■  ■  ■ 

■ 

■  1 

■ 

■ 

■ 

,  B  B 

■  ■  ■ 

■ 

nm 

1  m 

■ 

■ 

■ 

-  a    B  : 

■  ■  ■ 

■- 

'B   .  B  : 

□n 

■ 

■ 

■ 

B  i   B  :  ^ 

■  ■  '■ 

■ 

■ 

■ 

■ 

■ 

■ 

■  ■ 

m 

■ 

■ 

■ 

■ 

■ 

D 

■ 

■ 

■ 

■ 

■  ■  ■ 

■ 

D-- 

B  '  B 

■ 

Mi 

IB 

MB 

■    ■  ■! 

mm 

B 


ijn 


:  y3 

:  :•:  n  n  caa 
c;      □  □ 


Fig.  777. 


Diagram  Fig.  780  shows  the  method  of  interlacing  binder  filling  which  forms  the  cores  of 
the  pendants. 

A  A  represent  two  sets  of  heading-warps  at  the  sides  of  the  usual  body-warps,  B  for  form- 
ing the  pile-threads  of  the  chenille.  The  warps  A  and  B  are  interwoven  with  the  filling  which 
may  consist  of  a  single  thread  or  series  of  threads,  all  in  the  .same  shuttle. 


The  filling  is  interlaced  in  the  following  manner:  The  filling  is  interwoven  with  the  left-hand 
heading-warps  A,  then,  with  the  body-warps  B,  up  to  the  inner  edge  of  the  right-hand  heading- 
warp  A  but  not  with  the  said  right-hand  heading-warp  A;  then  the  intermediate  or  filling  weft, 
which  is  to  be  removed  later  on,  is  interwoven  with  the  body-warps  5,  but  not  with  the  headings. 
After  three,  four,  or  more  courses  of  the  intermediate  weft,  Z),  have  been  formed,  the  weft-thread  C 


165 


is  again  interwoven  with  the  body-warps  B  and  one  of  the  heading-warps  ;  but  in  this  case  the  weft 
C  is  interwoven  with  the  right-hand  heading-warp  A,  and  with  the  body-warps  up  to  the  inner  edge 
of  the  left-hand  heading-warp  A,  but  not  with  said  left-hand  heading-warp  A,  and  so  on  alternately, 
so  that,  as  shown  in  Fig.  779,  the  weft-thread  C  is  interwoven  at  regular  intervals  with  the  body- 
warps,  and  is  alternately  interwoven  with  the  left  and  right-hand  heading-warps  A.  The  warps  B 
are  then  cut  parallel  with  the  wefts  C,  midway  between  them,  and  the  temporary  wefts  D  are  re- 
moved, and  thereby  two  chenille  fringes  are  formed,  one  on  each  heading  A,  the  pendants  being 
connected  alternately  with  the  opposite  headings,  as  shown. 

As  shown  in  Fig.  779,  the  filling  can  be  interwoven  in  such  a  manner  that  in  pairs  they  are 
alternately  connected  with  the  opposite  headings,  or  the  first,  second  and  third  picks  may  be 
interwoven  with  the  right-hand  heading,  and  the  next,  first,  second  and  third  picks  to  the  opposite 
heading,  and  so  on.  In  all  cases  the  permanent  filling  will  ordinarily  be  interwoven  with  the 
heading-warps,  as  shown  in  Fig.  780,  in  which  case  the  filling  must  be  severed  at  the  points  a  at 
both  headings.  The  filling  interwoven  with  the  headings,  and  extending  across  the  warps,  form 
the  cores  of  the  chenille  pendants. 


Fig.  7S0.  Fig.  7S1. 


In  Fig.  781,  the  previously  explained  method  of  weaving  a  double  set  of  chenille  fringes 
with  their  pendants  attached,  is  shown  as  applied  to  the  production  of  pendants  which  are  shaped 
so  as  to  have  a  varying-diameter. 

A  A  are  the  heading-warps ;  B,  the  body-warps  between  the  two  sets  of  heading-warps. 

C  C  filling  interwoven  with  the  heading  and  body  warps  and  forming  cores  or  centres  of  the 
pendants  E.  The  core  C  oi  each  pendant  of  the  weft  is  interwoven  with  one  heading  warp  only, 
and,  as  shown  in  the  drawing,  the  cores  of  the  chenille  pendants  are  interwoven  alternately  with 
the  opposite  headings. 

If  desired,  one,  two,  or  three  cores  may  be  interwoven  with  one  heading,  and  the  next  one, 
two,  or  three  cores  with  the  opposite  heading,  and  the  cores  may  be  grouped  on  the  opposite 
headings  in  any  suitable  manner. 

Temporary  filling  M  is  interwoven  with  the  body-warps  between  the  picks  C  to  form  the 
chenille  fabric.  Then  the  body-warps  are  cut  with  suitable  dies,  knives  or  scissors,  between  the 
permanent  picks  to  produce  shaped  pendants — that  is,  pendants  in  which  the  diameters  of  the 
pile-threads  vary  at  different  points  through  their  entire  length. 


166 


PILE  FABRICS  IN  WHICH  THE  PILE  IS  PRODUCED  BY  A  SEPARATE 
WARP  IN  ADDITION  TO  THE  GROUND  WARP. 

As  indicated,  two  kinds  of  warps  are  necessary  to  the  production  of  these  fabrics.  One 
warp,  the  "ground-warp,"  with  the  filling,  produces  the  ground  or  body  of  the  fabric,  while  a 
second  warp,  known  as  the  "  pile-warp,"  produces  the  face. 

In  any  pile  fabric,  from  the  common  velvet  to  the  most  complicated  Astrakan  cloth,  Brussels, 
Wilton  or  tapestry  carpet,  the  method  of  entwining  the  ground  structure  is  of  a  very  simple 
character  (either  common  plain,  basket,  or  a  twill  of  .short  repeat),  while  the  interlacing  of  the 
pile-warp  into  the  ground  cloth  is  of  a  more  complicated  nature.  In  all  warp-pile  fabrics 
two  methods  of  producing  the  pile  are  essential.  Either  the  pile  is  left  uncut,  which  is  techni- 
cally known  as  the  "Terry"  pile,  or  the  pile  is  cut,  known  technically  as  the  "velvet"  pile.  In 
addition  to  these  two  ground  principles  for  producing  the  warp-pile,  an  endless  variety  of  effects 
and  combinations  are  produced  by  using  various  color  combinations  for  each  kind,  again  varying 
the  height  of  the  pile,  combining  cut  and  uncut  (velvet  and  Terry  effect)  pile  for  forming  addi- 
tional designs  in  one  fabric,  etc.,  etc. 

Ground-warp  and  pile-warp  are  independent  in  their  operation  on  the  loom,  therefore  each 
must  be  wound  on  a  separate  beam,  as  a  different  tension  and  "  let-off"  is  required  for  each. 

In  fabrics  of  a  fancy  character  one  beam  for  the  pile-warp  will  not  be  sufficient,  and  the 
number  must  be  increased  for  some  fabrics  to  a  great  extent,  in  fact  in  such  fabrics  as  Brussels  or 
Wilton  carpets  it  must  be  increased  to  one  miniature  beam  for  each  individual  pile  warp-thread. 


Structure  of  Warp  Pile  Fabrics. 

Warp-pile  fabrics  are  constructed  by  raising  the  pile-warps  from  the  ground  cloth  over  a 
wire  and  then  interlacing  the  same  into  the  cloth  again.  The  entire  pile-warp  may  be  raised  over 
the  wire  on  a  pick,  or  part  of  it  only.  In  every  case  we  must  be  careful  to  arrange  the  binding 
so  as  to  secure  the  pile  proper  to  the  ground  cloth.  In  case  we  want  to  raise  only  a  part  of  the 
pile-warp  at  one  pick  we  must,  in  addition  to  the  binding,  arrange  the  distribution  according  to 
the  effect  required. 

Terry  and  Velvet  Pile. 

In  all  warp-pile  fabrics  the  same  kind  of  warp  yarn  may  be  employed  to  produce  the  pile 
for  either  the  Terry  or  the  velvet  effect;  but  it  will  be  necessary  to  use  different  wires  if  the  fabric 
is  to  be  woven  on  a  power  loom.    The  Terry  pile  is 

produced  by  using  a  plain  wire,  as  illustrated  in      .  _  .-^   ^  -rrra  783- 

Fig.  782,  which,  when  drawn  out,  leaves  the  loop 

intact.  — ^  -  ,  --:=T^  7^2. 

If  "velvet  pile"  is  desired  we  must  use  wires  of  a 
.style  similar  to  that  illustrated  in  Fig.  783,  being  a  wire  which  has  a  knife  attp.ched  to  its  extreme 
end.    This  cuts  its  way  through  the  pile  as  the  wire  is  pulled  out. 

In  weaving  pile  fabrics  on  a  hand  loom,  frequently  one  kind  of  wire  is  used  for  producing 
both  Terry  and  velvet  effects  of  an  equal  size.  This  wire  is  provided  with  a  groove  for  inserting 
the  knife  of  the  "trevette"  when  a  velvet  face  is  required.  Fig.  784  illustrates  the  section  cut  of 
such  a  wire  (see  S).  The  knife  of  the  trevette  is  shown  A.  B  represents  a  warp-thread  as  cut 
and  secured  to  the  body  or  ground  of  the  cloth  by  means  of  picks  i  and  2,  which  in  the  present 
example  represent  the  two  connecting  picks  to  the  pick  for  inserting  the  wire.  If  no  cutting  is 
required  (Terry)  the  wire  is  pulled  out.  Thus  it  will  be  seen  that  the  production  of  velvet  or 
Terry  effects  in  the  fabric  is  effected  by  cutting,  or  not  cutting,  certain  pile  picks,  the  change  to 
either  effect  being  entirely  at  the  will  of  the  weaver.    The  trevette  is  a  frame  having  a  knife  fixed 


167 


in  it  for  cutting  the  pile,  and  is  illustrated  in  Fig.  785  by  a  front  view  and  in  Fig.  786  by  a  side 
view.    Letters  used  for  indicating  the  different  parts  in  both  designs  are  used  correspondingly. 


nA.B. 


Fig.  785.  Fig.  786. 

The  weaver  inserts  the  trevette  on  the  wire  to  be  liberated  at  the  left  side  of  the  fabric  and 
runs  it  quickly  over  the  entire  width  of  the  wire. 


Explanations  and  Illustrations  of  the  Method  of  Operation  in  Producing  Warp 

Pile  Fabrics. 

As  previously  mentioned,  in  warp  pile  fabrics  we  require  two  kinds  of  warp,  one  for  the 
ground  cloth  and  one  for  the  pile.  Each  kind  of  warp  is  drawn  in  on  its  own  set  of  harness, 
arranging  in  most  every  instance  the  pile  warp  nearest  to  the  reed. 


Q[S;rj(DL-:b^iA' 

D 

□SQDBn— C 
■□8BCBB  . 

1  2  3  4  ili 

Fig.  7S7. 


b-oaaDHD  ist  set  of  harness 
d— DSIDDaa  ground-warp. 


eBDDma  =nd  set  of  harness 
f— for  pile-warp. 

Fig.  788. 


In  Fig.  787  we  illu.strate  a  weave  for  a  pile  fabric.  Repeat:  3  warp-threads,  4  picks.  Ar- 
rangement of  warp:  2  threads  ground  (2,  3,  5  and  6),  i  thread  pile  (i  and  4)  =  3  threads  in  repeat. 
Filling:  l  ground  pick  heavy  {A),  2  ground  picks  finer  [B  and  C),  1  pick  for  inserting  wire  (Z>), 
=  4  picks  in  repeat. 

Fig.  788  represents  the  drawing-in  draft  arranged,  4-harness  in  first  set  for  ground  warp  and 
2-harness  in  the  second  set  for  pile  warp.  Harness:  a,  b,  c  and  d  for  ground;  harness:  e  and  f 
for  pile. 


Fig.  789. 


Fig.  790. 


Fig.  789  illustrates  the  method  of  operation  on  the  loom.  Every  letter  or  number  used  in 
this  diagram  corresponds  with  those  used  in  Figs.  787  and  788.  and  thus  will  readily  explain 
itself 


168 


Fig.  790  represents  a  reproduction  in  perspective  of  the  fabric  as  produced  with  weave  Fig. 
787.    Letters  used  in  this  drawing  also  correspond  with  those  used  in  Figs.  787,  788  and  789. 

In  drawing  Fig.  789,  representing  the  method  of  operation  for  forming  pile  fabrics,  only  one 
wire  is  shown  interwoven.  The  same  will  illustrate  a  principle  most  frequently  observed,  i.  e.,  to| 
have  the  pile  warp  in  the  lower  shed,  both  in  the  pick  preceding  the  wire  as  well  as  the  one 
following.  This  method  has  a  strong  tendency  to  drive  the  wires  into  position  as  well  as  to  keep 
them  there.  In  some  fabrics  this  method  is  changed  with  respect  to  the  pick  preceding  the  wire, 
but  in  whatever  warp  pile  fabric  to  be  constructed  by  means  of  wires,  the  pick  following  the 
insertion  of  the  wire  must  have  all  pile  warp-threads,  raised  as  before  over  the  wire,  down. 

We  will  now  give  a  short  sketch  of  the  method  of  operation  on  the  hand  loom  when  weaving 
warp  pile  fabrics,  thus  illustrating  also  a  like  principle  for  weaving  the  same  fabrics  on  the  power 
loom.  After  the  weaver  has  interlaced  the  required  number  of  ground  picks  between  the  threads 
of  the  combined  warps,  a  shed  is  formed  either  by  raising  the  entire  pile  warp-threads  in  the 
upper  part  of  the  shed  and  forming  the  lower  part  of  the  shed  by  means  of  the  ground  warp,  or 
by  raising  only  a  part  of  the  pile  warp  in  this  pick,  forming  the  lower  part  of  the  shed  by  the 
entire  ground  warp  and  also  the  remaining  part  of  the  pile  warp.  This  shed  remains  formed 
until  the  wire  has  been  passed  through,  extending  on  each  end  several  inches  wider  than  the 
selvage  threads.  Towards  this  wire  so  inserted  the  reed  is  brought  with  considerable  force, 
and  pushes  the  wire  close  towards  the  previously  interwoven  ground  picks.  The  shape  of  these 
wires  is  of  such  a  form  that,  by  arranging  the  latter  so  that  the  reed  when  pressing  towards  the 
interlaced  part  of  the  fabric  comes  in  contact  with  the  grooved  edge,  the  wire  is  caused  to  stand 
on  its  lower  edge.  In  this  upright  position  it  is  maintained  by  pressing  the  reed  towards  the  wire 
until  a  new  shed  (ground  pick)  is  formed,  in  which  the  filling  for  the  ground  cloth  is  inserted  by 
means  of  a  common  shuttle  as  is  done  in  the  ground  pick  preceding  the  insertion  of  the  "  wire." 

By  this  method  of  fastening  the  pile  warp  over  its  respective  wire  to  the  ground  cloth,  the 
latter  is  also  securely  fastened  to  it,  and,  if  an  uncut  pile  effect  is  desired,  requires  some  effort  to 
liberate  it.  After  inserting  the  required  number  of  ground  picks  the  process  of  inserting  the  wires 
is  repeated,  several  wires  always  being  retained  in  the  fabric  to  keep  the  pile-threads  from  pulling 
out  of  the  texture,  which  would  destroy  the  face.  From  6  to  12  wires,  according  to  the  material 
and  the  method  of  interlacing  the  ground  cloth,  as  also  the  closeness  or  "height"  of  texture,  are 
required  to  remain  in  the  fabric  to  prevent  any  possible  trouble,  as  pomted  out.  The  last  wire 
liberated  is  always  the  next  to  be  inserted. 

We  will  now  proceed  to  explain  and  illustrate  a  few  of  the  most  prominent  warp  pile  fabrics. 

Velvet  and  Plush  Fabrics. 

These  fabrics  are  constructed  with  two  kinds  of  warps.  The  ground-warp  consists  either 
of  silk  or  cotton,  and  interlaces  with  the  filling  on  plain  □■,  rib  Sg,  *g,  basket  55^3,  or  a  3,  4,  5, 
6  harness  twill ;  whereas  the  pile-warp  being  of  silk,  forms  the  face,  through  interlacing  with  the 
ground-cloth  after,  or  before  and  after,  raising  for  the  wire. 

The  ground-warp  is  woven  with  a  tight  tension,  while  the  pile-warp  is  arranged  to  "  take 
up  "  easily.  The  name  of  the  fabric  indicates  the  "  cut "  character  for  the  pile.  As  previously 
mentioned,  two  beams  are  necessary,  the  beam  for  carrying  the  ground-warp,  and  the  beam  for 
carrying  the  pile-warp.  The  pile-beam  must  be  situated  in  a  higher  position  (in  the  rear  of  the 
loom)  than  the  beam  carrying  the  ground-warp,  so  that  the  pile-threads  will  run  in  an  oblique  di- 
rection towards  the  harness.  The  proportion  of  pile  and  ground-warp  as  well  as  the  height  of 
te«tu«-e,  and  threads  per  dent,  vary  for  the  different  qualities. 

Arrangements  most  frequently  used  are: 

2  ends  ground  to  alternate  with  i  end  pile,  or,  2  ends  ground  to  alternate  with  2  ends  pile. 


169 


Or,  2  ends  ground,  i  end  pile,  i  end  ground,  i  end  pile,  =  5  ends  in  repeat.  Or,  i  ground,  I 
pile,  I  ground,  2  pile,  =  5  ends  in  repeat.  Or,  i  ground,  2  pile,  2  ground,  2  pile,  =  7  ends  in 
repeat.    Or,  2  ground,  i  pile,  2  ground,  2  pile  =  7  ends  in  repeat,  etc.,  etc. 

The  ground-warp  and  pile-warp  are  each  put  on  a  separate  set  of  harness,  generally  using 
4  successive  harnesses  for  drawing  in  the  ground-warp,  and  2  harnesses  for  the  pile-warp. 

For  example : 

'.'^Fig.  .represents  a  common  vel- 
vet weave  in  which  2  ground  warp- 
threads  alternate  with  i  end  pile-warp. 
Filling:  3  picks,  ground  {A.  B.  C.)  to 
alternate  with  i  wire  {D). 

Fig.  792  illustrates  the  drawing-in 
draft  with  two  sets  of  harness.  Harness 
a,  b,  c,  d  for  the  ground-warp  (4),  harness 
c  and  f  for  the  pile  warp  (2). 

Technically  the  velvet  fabrics  are 


Fig.  791. 


792. 


Fig.  'i 

j  £ 

1  ■  , 

)  

picks  velvet,"  etc.,  which  means  that  in 
the  two-picks  velvet  we  use  two  ground-picks  between  each  insertion  of  the  wire,  and  in  the 
three-picks  velvet  three  successive  ground  picks,  and  so  on. 

In  Fig.  793  we  illustrate  one  of  the  plainest  of  the  velvet  weaves  and  representing  what  is 
technically  classified  as  "  the  common  two-picks  velvet "  weave. 


Fig.  793. 


F'S-  794  represents  the  sectional  cut  of  this  weave.    An  examination  of  this  weave  will 
illustrate  the  following  arrangement  for  each  pick  :  • 
Pick  I  raises  ground  warp-thread  i  and  the  pile. 

"    2     "     only  the  pile  (wire). 

"    3     "       "    ground  warp-thread  2. 
Repeat :  3  warp-threads  and  3  picks. 

Warp :  2  ground-threads  to  alternate  with  one  pile-thread  (this  pile  can  also  be  a  two-fold  or 
a  three-fold  thread). 

Filling:  2  ground-picks  to  alternate  with  one  pick  for  inserting  wire. 


orcrron 

6r  .DBC  'CU 
^□□■□CB 

Fig.  795. 


In 


Fig- 


interlacing  of 


795    we   illustrate  a 
the    eround  cloth 


Fig.  796. 

velvet   weave    frequently  used,  which  has  for  the 


the   common    rib-weave    (2    harness   and   4   picks  n»/' 
In  this  weave  we  find  the  ground-picks  preceding  the  pick  for  inserting  the  wire,  as 
well  as  the  ground-pick  following  the  latter,  call  for  the  raising  of  the  same  ground  warp-threads 
(two  picks  in  a  shed  in  the  common  rib-weave). 


170 


Fig.  796  illustrates  the  section  of  a  fabric  interlaced  on  weave  Fig.  795.  An  examination  of 
each  pick  will  show  the  following  results : 

Pick  I  raises  ground  warp-thread  number  i  and  the  pile. 

2  "     only  the  pile  (for  inserting  the  wire). 

3  "    only  ground  warp-thread  number  i. 

4  "     ground  warp-thread  number  2  and  the  pile. 

5  "     only  the  pile  (for  inserting  the  wire). 

6  "     only  the  ground  warp-thread  number  2. 
Repeat :  3  warp-threads  and  6  picks. 

Warp:  2  ground-threads  to  alternate  with  i  pile-thread  (which  can  also  be  a  two-fold  or 
three-fold  thread). 

Filling:  2  ground-picks  to  alternate  with  one  pick  for  inserting  wire. 


IHUGHGO 
1  t  i 


Fig.  797.  Fig.  798. 

In  Fig.  797  we  illustrate  the  common  "  3-picks  velvet"  weave,  which  has  for  its  interlacing 
of  the  ground-cloth  the  common  plain  weave. 
Repeat :  3  warp-threads  and  8  picks. 

Warp :  2  ground-threads  to  alternate  with  i  pile-thread  (which  can  also  be  a  two-fold  or 
three-fold  thread). 

Filling:  3  ground-picks  to  alternate  with  one  pick  for  inserting  the  wire. 
An  examination  of  each  successive  pick  will  show  the  following  results : 
Pick  I  raises  ground  warp-thread  No.  i.    (Ground-pick  I.) 
pile-warp  for  inserting  wire, 
ground  warp-thread  No.  2.    (Ground-pick  2.) 
ground  warp-thread  No.  I  and  pile-warp.    (Ground-pick  3.) 
ground  warp-thread  No.  2.    (Ground-pick  4.) 
pile-warp  for  inserting  wire, 
ground  warp-thread  No.  i.    (Ground-pick  5.) 
ground  warp-thread  No.  2  and  pile-warp.    (Ground-pick  6.) 
The  section  cut  of  this  weave,  which  is  represented  in  diagram  Fig.  798,  readily  explains  the 
advantages  of  this  weave  over  the  preceding  ones,  in  that  it  more  securely  fastens  the  pile  to  the 
ground-cloth,  every  pile  warp-thread  being  interlaced  by  - — ^- — j  before  it  is  raised  for  inserting  the 
wire.    Therefore  fabrics  produced  with  this  weave  will  be  more  durable  than  fabrics  interlaced  as 
shown  in  sections  794  and  796;   of  course,  by  using  the  texture  and  size  of  yarn  alike  in  all 
three  examples,  the  fabric  as  produced  with  weave  Fig.  797  will  be  less  dense,  in  appearance  of 
the  face,  than  the  others. 


BDDaGiJ 
□□■JGB-D 

BnOHJJ 

saonaGQ  _ 

SDUBJOB-D 

IHG  jaG_i 


Fig. 


799- 


SecUormt  cat      '^^^^  warp__ 
Fig.  800. 


In  weave  Fig.  799  we  represent  another  "  3-pick  velvet"  weave.  Diagram  Fig.  800  repre- 
sents the  section  of  a  fabric  interlaced  with  weave  Fig.  799.  Letters  for  indicating  the  different 
threads  in  weave  and  section  are  used  correspondingly.  Two  loops  formed  by  the  insertion  of 
the  wires  are  shown  as  cut,  whereas  one  is  represented  as  uncut. 


171 


An  examination  of  the  weave  will  show  the  followincr  results  • 
Repeat :  3  warp-threads  and  4  picks. 

Arrangement  of  Warp :  2  ends  ground  to  alternate  with  i  end  pile. 

Filling:  3  picks  ground  to  alternate  with  i  pick  forming  the  shed  for  inserting  the  wire. 
Picks  marked  I,  3,  4,  are  ground  picks.  Pick  2  {—  D)  is  the  pick  for  inserting  the  wire.  If 
using  a  twill  weave  for  interlacing  the  ground-cloth  in  a  velvet  fabric,  we  generally  use  not  less 
than  3  successive  ground  picks  to  alternate  with  one  pick  for  the  wire.  Less  ground  picks  would 
result  in  a  texture  not  sufficiently  strong  to  resist  the  pulling  out  of  the  pile  by  the  wear  the 
fabric  is  put  to. 


Fig.  801.  Fig.  802.  Fic;.  803. 


In  Fig.  801  we  illustrate  the  design  for  a  pile  fabric  having  the  ^  6-harness  twill  for  weave 

of  the  ground  structure. 

Repeat :  9  warp-threads  and  8  picks. 

Arrangement  of  ivarp :  2  ground  threads,  i  pile  thread  =  3  threads  repeat. 
Filling :  3  ground  picks  to  alternate  with  i  pile  pick. 

The  method  of  interlacing  the  pile  warp  to  the  ground  cloth  is,  in  the  present  example,  equal 
to  the  one  illustrated  in  P^ig.  800. 

In  place  of  one  pile  thread  we  can  also  use  a  two-fold  or  three-fold  thread. 

In  the  manufacture  of  velvets  and  plushes,  in  which  no  dense  pile  is  required  on  the  face,  as 
also  in  fabrics  in  which  the  material  used  is  rough  or  too  close  set,  and  so  liable  to  "  choke " 
between  the  raising  and  lowering  of  the  entire  pile  warp  or  vice  versa  the  entire  ground  warp,  we 
raise  on  every  successive  pile  pick  only  each  alternate  pile  warp-thread.  The  proportion  of  pile 
warp  and  ground  warp  in  these  fabrics  is  generally  equal;  one  ground  warp-thread  to  alternate 
with  one  thread  of  pile  warp. 

In  this  manner  design  Fig.  802  is  executed. 

Repeat:  4  warp-threads  and  6  picks  (4  ground  picks,  2  picks  for  wires). 
Filling:  2  picks  ground  to  alternate  with  i  pick  for  inserting  the  wire. 

Diagram  Fig.  803  represents  a  sectional  view  of  the  method  of  interlacing  both  pile  warp- 
threads  in  the  ground  cloth  in  weave  Fig.  8o2.  One  pile  warp-thread,  indicated  as  A,  is  shown 
shaded  and  situated  behind  pile-thread  B,  which  is  shown  in  clear  outlines.  5  represents  the 
section  of  a  wire  as  used  in  hand  looms,  but  which  will  also  demonstrate  the  section  of  a  wire 
as  used  in  power  looms.  C  represents  the  section  of  the  knife  in  the  trevette.  The  first  loop  is 
shown  as  cut,  whereas  the  other  three  are  represented  as  uncut. 

FIGURED  VELVET. 

In  these  pile  fabrics  more  figuring  is  possible  than  in  any  other  kind  of  textile  fabrics.  One 
of  the  first  requisites  for  figuring  these  fabrics  is  the  use  of  different  colors  for  forming  designs. 
Then,  again,  we  can  figure  successfully  by  using  uncut  pile  with  the  regular  cut  pile,  as  also  by 
using  the  common  weaving  to  form  figures  with  the  pile  weaving.  We  can  also  produce  new 
additional  designs  by  means  of  high  and  low  pile.  All  these  latter  methods  for  forming  addi- 
tional figures  will  result  in  the  necessity  of  using  a  great  many  beams,  and  in  some  fancy  figures 


172 


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figuring  done  by  means  of  the  Jacquard 
machine,  the  number  of  beams  will  in- 
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design  until  a  separate  small  beam  "  pile- 
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thread  must  be  used.  In  using  this  arrange- 
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to  readily  find  the  place  of  breaking  of  any 
thread  in  the  loom  during  weaving. 


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Fig.  804.  Combination  of  figured 
pile-effects  and  figure-effects, produced  upon 
two  systems  of  warp  and  one  system  of 
filling. 

Arrangement  of  dressing  : 

A,  I  end  pile,       \       .  , 

,  C  12  times  =  24  ends. 
I  end  ground,  ) 

B,  I  end  figure,    I     times  =  36  ends. 
I  end  ground,  j 

Repeat  60  ends. 


I 


173 


Lowest  number  of  harness  possible  for  drawing  in,  is  24-harness. 
Filling:  i  wire  (pile),  2  ground. 
Fig.  8o4<5.    Motive  for  weave  804. 

B  pile  effect.    ■  effect  produced  on  ordinary  weaving  with  extra  warp. 

In  both  designs  (the  motive  and  the  weave)  three  repeats  of  the  pile  part  and  two  repeats 
of  the  part  figured  by  extra  warp  (ordinary  woven)  are  illustrated. 

Fig.  805.  Repeat:  60  warp-threads,  24  picks.  Can  be  reduced,  if  required,  to  21 
or  23-harness. 

Fig.  805^^.    Motive  for  preceding  weave. 


A 


B 


ins  .a  s  •a  a  .a  a  a  a 'm  a 

i^.a  a  .a  a  s  a  a  a  a  a  ,a  a 

►J  a  ►J  .  ^  .  J  a  >j  a 

L   , .       ■  y. 

a  a  a  a  a  a  a  a  a  a  a 

L  a  a  a  a  a  a  •;•  a  a  'a  a  ;B 

E.  . 

□fflna  a  a  a  a  a  a  a  ■:•  a  •:• 

:■ 


ljB  a  a  a 

[]Lmj  ,  ■■: 

□BUB  .a  'B 

□□BQ'  1  : 
.jfflaB_ja  a 

Kama 
□[jscij  :■: 
□s      'a  a 


L 

□a 


a  a  a  a 


a,  s  a  a 
a  a  a 

.a  s,a  a  a .a  s 


a  a 


" □□□□□□□□□□□□□□□□D 
■■■□□KiDOBnanBaaa 


JDUDGUDQCDDDaDDQU . 
IC  □■□□□■□□□■□□□■□C  ■ 

iflsaaaBaDDHDDaiinnDBi 

□□□□□□□□□□□GDDDCr ' 

^□□□■□□□■□□□■□□□Pi 

":cani:?D;:iDnc!DDDrjDnr' 
 1 


i  j; 


1 


■  ' 

■ 

■ 

■ 

■ 

■ 

1  1 

■ 

j 
•  ] 
) 

■ 

■ 

■ 

■ 

■ 

■ 

■ 

J 

1 

) 

■ 

■ 

■ 

■ 

■ 

J 

1 

1 

■ 

■ 

■ 

■ 

■ 

■ 

■ 

) 

■ 

■ 

■ 

■ 

■ 

■ 

■ 

■ 

1 

1 

■ 

) 

■ 

■ 

■ 

■ 

■■3 

■ 

■ 

■ 

) 

■ 

■ 

■ 

■ 

■ 

■ 

■ 

] 

■ 

■ 

■ 

J 

■ 

■ 

■  J 

J 

■ 

■ 

■ 

■ 

■ 

■ 

■ 

'3 

■ 

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■ 

■ 

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■ 

n 

] 

□LBM 

■ 

C 

■ 

■ 

□■H 

jddbqdl: 

■□ 

1 

(i  represents  pile,  2  ground,  filling.) 
Fig.  805. 

A.  Pile  Effect.  Dressing:  i  end  pile,  i  end  ground,  12  times, 

=  24  ends. 

B.  Figure  Effect.  Produced  upon  2  systems  of  warp,  i  system 
of  filling.    Dressing :  i  end  figure,  i  end  ground,  18  times, 

=  36  ends. 


A 


EBBBHBBBBESBJ 


_  ■■■ 
■■■■■ 
■■■■■■ 


BBBEEfflBBEBBB 


BHaaaaaa 


aaaa 
~aaB 
aaai 
aaai 
aaei 


■■□□□□□□c 
■■■■■□□u 
■■■■■■a 


iffiBaaaaiiaaaaa 
1 

Fig.  805*5 


■■'_jU 

IJOD 

ODD 


In  both  designs  (the  motive  and  the  weave)  only  one  repeat  is  shown,  a  for  pile-warp. 
■  for  figure-warp,  ca  for  ground-warp  in  pile  part  of  weave.  ■  for  ground-warp  in  ordinary 
weaving  part  of  the  design. 

ASTRAKHANS. 

These  fabrics  are  also  formed  by  adding  an  extra  pile-warp  to  a  single  cloth,  otherwise 
interlaced  in  plain,  basket,  rib,  or  common  twill  weaves,  and  are  the  nearest  related  (some  weaves 
being  exactly  the  same)  to  the  velvet  weaves  given  in  the  preceding  chapter.  We  may  either  cut 
this  pile  (plush)  or  leave  the  pile  uncut  (terry) ;  or  we  may  use  both  methods  in  the  same  fabric, 
producing  in  this  way  some  of  the  most  beautiful  novelties  for  ladies'  cloaking — trimmings,  and 
similar  fashionable  articles. 

Texture  of  Astrakhan  Fabrics. 

The  texture  of  these  fabrics  requires  2  kinds  of  warp :  a.  ground-warp,  pile-warp,  and 
one  kind  of  filling  (ground).    The  ground-warp  will,  by  interlacing  with  the  filling,  form  the 


174 


ground  or  body  of  the  structure,  while  the  pile-warp  through  being  interlaced  to  this  ground 
structure  and  raised  at  certain  intervals  over  wires  (as  required  by  the  design),  forms  the  face 
of  the  fabric. 

Ornainentation  of  Astrakhan  Fabrics. 

Fancy  effects  upon  otherwise  plain  interlaced  Astrakhan  fabrics  can  be  produced  by  various 
combinations.    Among  these  are  found ;  The  use  of  different  colors  in  the  pile-warp ;  varying 


 ,)  ,   g.tl  J{  ^<i.at»  Sechonu.1   cat       "^i-l;  wiarfi 

Fig.  807.  •  Fig.  808. 


the  length  of  the  pile ;  and  combining  the  terrj'  and  velvet  effects,  forming  either  terry  figures 
upon  velvet  ground  or  velvet  figures  upon  terry  ground. 

Specimen  Weaves  for  Astrakhans. 

Fig.  806  represents  the  weave  for  a  plain  Astrakhan  fabric.  Repeat :  3  threads  of  warp, 
4  picks ;  the  entire  pile  warp  (indicated  by  3  and  6  in  the  figure)  is  raised  at  once  over  the  wire 


Fig.  809. 


Fig.  810. 


as  shown  in  picks  D,  D' .  Texture  of  the  warp  is  2  ends  ground  or  body-warp  (cotton)  to  alter- 
nate with  one  end  pile-warp  for  the  drawing-in  on  2  sets  of  harness. 

1st  set  for  ground-warp  (containing  harness  abed). 

2d  set  for  pile-warp  (containing  harness  e  and  /). 


175 


Diagram  Fig.  807  represents  the  drawing-in  of  the  warp  on  its  corresponding  two  sets  of 
harness  (indicated  at  the  right-hand  side). 

Diagram  Fig.  808  illustrates  the  section  of  a  fabric  interlaced  on  weave  Fig.  806.  Both 
ground  warp-threads,  as  working  at  the  right  and  left,  are  indicated  by  dotted  hnes.  The  pile- 
warp  indicated  in  full  black  is  shown  in  the  terry  and  velvet  effect  (cut  and  uncut). 

Fig.  809  illustrates  another  design  for  Astrakhans.  JVar/>:  2  ends  ground-warp,  i  end  pile- 
warp,  2  ends  ground-warp,  i  end  pile-warp  (to  alternate  with  the  first  end  pile-warp  in  weaving). 


Fig.  811. 

Each  pile  warp-thread  is  drawn  on  a  separate  harness,  as  shown  in  Fig.  810.  Diagram  Fig.  811 
illustrates  the  method  of  operation  in  weaving  a  fabric  with  the  weave  just  given.  2  picks 
ground  B,  C,  E,  F\  i  pick  for  inserting  \\\x&.A,  D.  In  pick  A  the  harness  /  raises  warp- thread 
3  ;  in  pick  D  the  harness  e  raises  warp-thread  6.  The  interlacing  of  the  body-cloth  is  done  with 
the  common  4-harness  basket-weave  having  the  two  warp-threads  between  the  pile  warp-threads 
working  the  same ;  also  the  pick  before  and  the  pick  after  the  inserting  of  the  wire. 

Fig.  812  illustrates  a  weave  for  Astrakhans  similar  to  the  one  above.  The  same  arrangement 
for  texture,  2  ends  ground  i  pile,  2  picks  ground  I  wire,  and  4  harness  common-rib  (filling  effect) 

"-'[-F 


Fig.  8x2. 

for  the  ground  structure  is  used ;  but  the  latter  weave  is  arranged  to  have  the  two  ground  warp- 
threads,  situated  in  the  fabric  near  each  other,  work  opposite ;  thus  the  ground  warp-threads 
working  nearest  on  each  side  of  a  pile-thread  raise  and  lower  equally.  In  diagram  Fig.  813,  a 
section  cut  of  the  two  pile-threads,  as  they  interlace  in  a  fabric,  is  shown.  One  pile-thread 
marked  A  is  represented  in  outline  (forming  loops  5  and  F),  while  the  other  pile-thread  is 
shown  in  full  black  (forming  loops  S'  and  F').  The  letters  and  numbers  indicating  the  differ- 
ent warp-threads,  picks,  and  openings  of  a  shed  for  inserting  wires,  respectively  correspond  in 
weave  Fig.  812  and  diagram  of  section  Fig.  813. 


Fig.  813. 


176 


Weave  Fig.  814  has  the  following  arrangement  of  texture  and  principles  of  construction: 
Warp :  4  ends  ground-warp,  i  end  pile-warp,  twice  over  in  one  repeat  of  the  weave. 
Filling:  4  picks  for  ground,  I  pick  for  inserting  the  wire,  twice  over  in  one  repeat  of  the 
weave.    Ground-weave:  plain.    Raising  of  pile-warp:  alternate  ends  on  alternate  wires. 
A  and  B  are  pile  warp-threads,  C  and  D  the  shed  for  inserting  the  wires. 


D 


n 

,P 

1 

a 

1 

,1 

G 

a 

J 
1 

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1 

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□□□□ 
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1 

1 

■ 

■ 

a 

I 

a 

I 

□□□□□ 

JDODO 

1 

H 

( 

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I 

r 

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maa 

n 

E 

1 

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i 

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AAAAABBBBB 
Fig.  815. 


Weave  Fig.  815  has  the  following  arrangement  of  texture  and  principles  of  construction  : 

2  threads  ground-warp,  i  thread  pile-warp,  10  times  over  in  repeat  of  weave. 

Filling'.  4  picks  for  ground,  i  pick  for  inserting  wire  ("cut"),  3  times  over;  4  picks  for 
ground,  i  pick  for  inserting  wire  ("  uncut"),  3  times  over;  hence  30  threads  warp  and  30  picks 
in  one  complete  repeat. 

Weave  for  body  of  fabric  :  plain. 

BSB  on  right-hand  side  of  weave  for  wires  "  cut." 

Gna  on  right-hand  side  of  weave  for  wires  "  uncut." 


I     I     I  I    K    K  K    K    L    L    L  L 

rv/      I  I         I  1         I         I         I         I         I         I         I  I 

/■^  -|  ffl  EB"^  "a  Q  ^\  a      ffl      ^  ^  ^  „^  ^  ',j            >7  '^laBBB^a 

Q  I    ..1    ...  :  .           „  !    .,1^  ...  ^  "  „  'm^'^%wm~H' 

Q  G         ■  ^y.     _y.  ■    y.  '    y.     ^y      y      y      y  j  ja 

[  a  >i<  •:•  \\         >;<      e<  "             "  sa 

P'-      iG      iG  iG      ::  G      G              G  g 


r  ■      ■      ■      ■  ]'□□□□■ 


^dBHBG     ^,  /'''-BGGGGGGG22ga_ 


'  JQ 

GM    G  .     G      [:      G  :     :)      G  g      v.      g  i  JD 

(     '  a      ■      ■      ■  '  I  .  'JjH' 

B'  1      G  ■      Hi  '      G  :      G        G'  ■      V.'  .      G        G        G        G     .   G  .;  ..JUUL 

■■iGDDDaa 


M- 


C-ggggggg::  i  tj 


I    11.-.  r>  !  agaH— 77 


„  I     '  IG      .  :G      ,  G        G      •  .G        :G       iG_       G        G        G        G      ■  iGDDDaa  n/l  ^ 

»      ffl      a      n<      a      o  s      •:•      a      a      a  laoaasH 

- ~      "  □□□□□□ 


■  ^'-GGGGGGGGGGGG  f-, 

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c:         ■    G                    G      g  g      g      g  ^           G    .  JDDjna    7,,  o 

!   ■     ■     ■     ■  Z7'  y\G.  817. 

t:  ■  _y  ■   y.     y     y.     y     y  _G     y     y    _y    _c;    ^.oppqa  ' 

■,                                 "         -:•  "  a  "      "  'Sa 

P     ,      "    'g      "     B     "     ■     "  "              "  M-D 

U  '      G  •      G        G        G        G        G  G        G        'Gi  i.     G  :     .Gi  .  }  J-  jujDa 

L.    'G      G      [;      G       .      g  g      g    ;  jancBBijuBHUGBHGaDaa 
//     A     A    A     B    B     B    B    C     C     C  C 

Fig.  816. 


Fig.  816  illustrates  another  fancy  weave  for  Astrakhans,  containing  the  "terry"  and  "velvet" 
principles.  The  arrangement  for  the  warp  is :  2  ends  ground,  i  end  pile-warp  (for  terry);  i  end 
pile-warp  (for  velvet),  12  times  over.  The  warp-threads  marked  on  bottom  of  the  design  A,  B,  C, 
are  for  the  velvet,  and  the  warp-threads  marked  /,  K,  L,  (indicated  on  top  of  the  design),  are  for 
the  terry.    Picks  D,  D' ,  E,  E',  H,  H',  are  to  be  the  "  cut "  effect,  and  picks  M,  P,  N,  P',  0,  P", 


177 


the  "uncut"  effect.  The  weave  for  the  body  of  the  fabric  is  the  common  2-harness  rib-weave 
(two  picks  in  a  shed  of  common  plain). 

In  diagram  Fig.  817,  the  motive  for  the  pile-warp  is  clearly  illustrated  (representing  the  3- 

harness  twill  ^  ^,  velvet  effect  upon  a  terr>'  ground  for  motive).    It  will  be  easily  seen  by  any 

one  that  an  endless  variety  of  weaves  and  effects  may  be  secured  by  combining  cut  with  imcut 


Fig.  818. 


pile.  And  whatever  designs  may  be  required,  the  principles  given  and  illustrated  in  the  preceding 
examples,  will  always  apply,  as  they  remain  unchanged. 

In  the  method  of  weaving  Astrakhan  fabrics,  as  thus  far  explained,  the  raising  of  the  pile 
has  been  effected  with  the  use  of  wires,  over  which  the  loops  of  the  pile  were  formed,  and  which 
were  inserted  and  withdrawn  at  intervals.    These  wires  being  constructed  in  a  single  piece,  the 


Fig.  819. 


width  of  the  fabric  which  can  be  made  on  them  is  necessarily  limited,  as  a  very  long  wire  cannot 
be  withdrawn  and  inserted  with  precision  automatically  by  the  loom.  Also,  the  means  for 
operating  such  wires  are  of  a  character  to  prevent  rapid  weaving;  hence  it  requires  a  special  loom 
of  complicated  construction. 

In  fabrics  of  a  "  cut "  pile  character  and  in  fabrics  in  which  the  warp  pile  is  not  cut  but  inter- 
woven very  loosely,  this  process  of  interlacing  and  its  loom  (power  or  hand)  must  be  used ;  while 


178 


in  "  terry  "  pile  Astrakhans,  which  have  their  pile  warp  rather  solidly  interlaced  with  the  body- 
structure,  a  device  has  lately  been  invented  by  T.  Harrison,  which  he  claims  can  be  applied  to 
almost  any  power  loom,  and  is  not  limited  to  the  width  of  the  fabric  which  it  can  produce,  and 
which  can  be  arranged  so  as  to  form  the  pile  at  any  desired  interval  upon  the  surface  of  the 
body  fabric.    It  consists  of  a  movable  frame  carr\'ing  a  series  of  short  "  wires  "  upon  which  the 


u 

;  a 

i 

1:    -                 .  A  \ 

i               \  ';  _ 

y 

1  j 

L 

Fig.  820. 


pile  loops  can  be  formed,  each  wire  being  pivoted  at  right  angles  to  the  plane  of  its  longitudinal 
movement  and  provided  with  means  for  depressing  its  free  end  at  proper  intervals,  so  as  to  engage 
beneath  the  warps  which  are  to  form  the  pile. 

In  Fig.  818  an  exterior  side-view  of  a  loom  embodying  the  arrangement  is  given.  In  this, 
as  well  as  in  the  following  drawings,  referring  to  the  present  subject,  those  parts  are  omitted 


Fig.  821. 


which  are  well  understood  in  their  action  and  whose  insertion  in  the  drawings  would  only  tend 
to  confuse  the  mind,  and  render  a  comprehension  of  the  special  parts  to  which  the  present 
arrangement  relates,  less  clear. 

Fig.  819  is  a  view  in  detail  of  a  portion  of  the  sectional  wire  which  forms  the  basis  of  the 
arrangement,  showing  various  parts  connected  with  the  portion  of  the  sectional  wire,  as  also  a 
number  of  warp  and  filling-threads. 


179 


Fig.  820  is  a  front  elevation  of  the  loom  with  its  attachment  for  raising  the  pile-warp.  In 
this  drawing  the  working  parts  are  shown  in  one  extreme  position,  while  in  Fig.  821  (corres- 
ponding to  Fig.  820)  they  are  shown  in  the  other  extreme. 

In  diagrams  I  to  X  in  Fig.  822  are  represented  the  positions  which  the  threads  assume  at 
each  stage  of  the  formation  of  the  fabric. 

Two  pile-warps  may  be  used,  which  are  indicated  respectively  by  i  and  2.  The  body-warps 
3  and  4  of  the  fabric  are  brought  from  a  separate  beam.  To  form  a  row  of  loops  with  the  pile- 
warp  I,  the  operation  commences,  as  shown  in  Diagram  I  of  Fig.  822 — that  is  to  say,  the  points 
of  the  wires  a  are  all  depressed,  and  the  frame  is  at  the  extreme  right-hand  position  shown  in 


1 

Fig.  822. 


Fig.  821.  Each  wire  a  thereupon  enters  beneath  a  number  of  warp-threads  and  raises  them 
slightly  above  the  plane  of  the  fabric.  A  shuttle  is  then  shot  through,  after  which  the  body- 
warp  4  rises  and  the  pile-warp  i  descends,  as  shown  in  Diagram  II  of  Fig.  822.  The  pile- 
warp  2  rises  and  a  pick  of  the  shuttle  follows,  and  the  action  of  the  reed  throws  the  filling-thread 
toward  the  wire  a,  so  as  to  close  the  row  of  pile-loops  thereon,  as  indicated  in  Diagram  III  of 
Fig.  822.  The  weaving  then  continues,  as  indicated  from  IV  to  VII  inclusive,  in  Fig.  822,  by 
means  of  both  pile-warps  and  both  body-warps,  the  shuttle  operating  in  the  ordinary  manner. 
During  all  this  period  the  taking  up  of  the  cloth  has  drawn  over  the  bottom  of  the  pile-loop 
somewhat  to  the  left  in  the  diagrams,  and  as  soon  as  a  sufficient  number  of  picks  have  been 
made  to  securely  lock  the  pile-loops  the  frame  and  the  wires  a  are  thrown  to  the  right  of  Fig. 


180 

826,  or  toward  the  observ^er  from  the  point  of  view  in  the  diagrams.  This  disengages  the  wires 
from  the  loops  which  they  have  heretofore  supported,  and  leaves  them  as  shown  in  diagram  VIII 
in  Fig.  822.  So  long  as  the  wires  have  been  surrounded  bj^  the  loops  and  have  rested  upon  the 
body  of  the  fabric  they  have  been  maintained  in  a  horizontal  position  ;  but  upon  their  being 
withdrawn  from  the  loops  and  upon  the  rise  of  the  frame  bodily,  this  support  ceases  and  the 
ends  of  the  wires  a  dip  downward  by  the  tension  of  the  spring.  Ihis  position  immediately 
follows  upon  their  withdrawal,  and  occurs  when  the  frame  is  at  the  extreme  right-hand  position 
(shown  in  Fig.  821),  or,  in  other  words,  is  ready  to  engage  with  a  fresh  set  of  pile-warps. 

Returning  now  to  the  Diagram  IX,  Fig.  820,  it  will  be  seen  that  both  the  pile-warps  are  up; 
but  in  the  Diagram  X,  Fig.  820,  the  pile-warp  1  (which  has  just  formed  the  first  series  of  loops) 
is  down,  and  with  it  the  body-warps  3  and  4  have  descended,  leaving  only  the  pile-warp  2  up  and 
ready  to  be  engaged  by  the  wires  a,  whereupon  a  repetition  of  the  ten  positions  indicated  will 
occur  with  the  pile-warp  2,  and  so  on  throughout  the  weaving  operation,  the  rows  of  pile-loops 
alternating  from  the  warps  i  and  2. 

In  the  method  illustrated  in  the  diagrams  six  picks  of  filling  are  represented  between  the 
rows  of  pile-loops  ;  but  this  number  can  be  varied  by  varying  the  frequency  of  movements  of 
the  frame  and  wires  relatively  to  the  picks  of  the  shuttle,  and  in  many  cases  a  much  less  num- 
ber of  picks  will  be  found  sufficient  to  lock  the  pile-loops,  so  as  to  prevent  them  from  pulhng 
out. 

The  invention  claims  further  that  the  frame  and  its  sectional  wires  can  be  ajjplied  to  almost 
any  well-known  form  of  loom  without  interfering  with  the  general  arrangement  thereof,  and  by 
merely  increasing  the  number  of  wires  a  the  fabric  may  be  produced  of  as  great  width  as  the 
loom  is  capable  of  weaving.  In  the  drawings  the  number  of  wires  has  been  arbitrarily  reduced 
and  their  individual  proportions  exaggerated,  in  order  to  more  clearly  show  their  construction; 
but  in  practice  for  making  Astrakhans  good  results  are  obtained  with  wires  one-eighth  of  an  inch 
gauge,  each  about  four  inches  long.  Wires  of  any  gauge  may,  however,  be  used,  according  to 
the  fineness  of  pile  which  it  is  desired  to  produce,  the  only  limit  being  in  the  stiffness  of  the 
wire,  which  of  course  may  be  relatively  increased  by  diminishing  the  length  of  the  individual 
sections. 

Machines  for  Curling  Warp-threads  for  Astrakhans. 

In  the  manufacture  of  "Astrakhans"  (and  similar  fabrics)  it  is  necessary  to  impart  a  perma- 
nent curl  or  twist  to  the  warp  threads  which  are  to  form  the  face  of  the  fabric.  The  yarn  is 
crimped,  the  length  of  the  crimp  being  regulated  by  the  amount  of  waviness  it  is  desired  to  give- 
The  crimping  is  set  in  the  yarn  by  a  steaming  process;  the  yarn  is  then  made  into  a  warp  and 
woven  over  wires  and  cut,  or  the  wires  are  withdrawn  without  cutting,  as  explained  in  the  preced- 
ing articles  on  weaving  these  fabrics.  The  moment  the  wire  is  withdrawn  (cut  or  uncut,  as 
required,)  it  falls  into  crimps  again,  and  thus  is  produced  that  u  av}'  shagginess  which  characterizes 
the  surface  of  these  fabrics. 

Until  lately,  the  method  of  producing  these  wavy  yarns  was  a  very  slow  one,  the  operation 
having  been  performed  by  hand.  At  present,  however,  they  are  produced  quickly  and  entirely 
automatically  by  one  operation  of  the  machine. 

Figs.  823,  824  and  825  illustrate  a  machine  for  performing  this  work. 

The  main  part  of  the  machine  is  a  solid  metal  spindle,  on  which  the  thread  is  wound  from  a 
bobbin  having  a  rotary  motion  around  the  spindle.  As  soon  as  the  thread  begins  to  wind  on  the 
spindle  it  is  forced  between  two  rolls,  which  are  pressing  against  the  direction  of  the  winding  of 
the  thread  on  the  spindle,  and  through  their  rotation  draw  the  thread  from  the  spindle. 

These  rolls  are  heated  by  a  gas  jet  and  transfer  their  heat  to  the  thread.  Through  the  pres- 
sure and  the  heat  the  required  curling  of  the  thread  is  fixed. 


181 


Fig.  823  represents  a  side  view  of  the  machine.  Fig.  824  represents  the  top  view.  Fig. 
825  represents  the  mechanism  for  curling  the  thread  (enlarged  from  Figs.  823  and  824). 

In  Figs.  826,  827,  828,  829  and  830,  we  illustrate  another  machine  (patented  by  T.  Harrison) 
for  preparing  these  pile  warp-threads  for  Astrakhans  or  similar  fabrics.  Fig.  826  represents  the 
front  elevation  of  the  machine.  Fig.  827  a  vertical  central  section  through  the  coiling  device. 
Fig.  828  illustrates  a  side  elevation  of  the  uncoiling  device.  Fig.  829  represents  the  top  view  of 
the  latter,  and  Fig.  830  a  view  of  the  stop,  by  means  of  which  a  positive  motion  is  imparted  to 
the  coiling  mechanism. 

We  will  next  give  a  description  of  the  different  parts  of  this  machine  as  mentioned  in  the 
invention. 

B  represents  the  frame  of  the  machine,  consisting  of  two  parallel  housings,  with  an  inclined 
upper  portion  marked  B^. 

A'^  \s  the  driving  shaft,  to  which  the  power  is  imparted  by  a  belt  upon  the  pulley  A"^.  ■  Upon 
the  driving  shaft  is  mounted  a  drum,  extending  entirely  across  the  interior  of  the  machine,  and 


Fig.  824.  Fiu.  823. 


which  is  provided  at  intervals  with  grooves  to  receive  a  series  of  small  driving  cords  or  belts, 
which,  after  being  brought  into  a  horizontal  plane  by  passing  the  inclined  part  of  the  belt  over 
idlers,  pass  around  a  series  of  horizontal  "whirls,"  which  are  journaled  upon  vertical  rings  II 
secured  in  a  series  of  openings  formed  in  the  transverse  platform  Z^.  These  whirls  are  formed 
with  a  circumferential  flange  on  their  upper  side,  thus  providing  seats  for  the  "  fliers  "  G  and  F. 
The  three  fliers  marked  G  are  coiling  devices,  the  three  marked  being  the  uncoiling  devices. 
The  coiling  fliers  each  consist  of  the  two  uprights,  mounted  at  the  bottom  upon  a  ring  which  fits 
snugly  within  the  flange  of  the  wheel.  At  the  top  the  two  uprights  are  connected  with  a  central 
sleeve  which  revolves  upon  a  vertical  tubular  stem,  which  passes  downward  through  the  axis  of 
rotation  of  the  flier  and  for  some  distance  below,  where  it  is  secured  in  the  transverse  piece 
£\  extending  across  from  side  to  side  of  the  machine  at  the  front  thereof  The  spool  upon  which 
the  warp  that  is  to  be  coiled  is  wound  in  the  first  instance,  fits  snugly,  but  so  as  to  revolve  freely 
upon  the  outside  of  the  before  mentioned  stem  and  rests  upon  a  standard,  through  whose  centre 
the  said  stem  passes  freely. 


182 


The  last  mentioned  standard  passes  freely  through  the  ring  H  and  is  supported  upon  a 
fixed  platform  K.  The  coiling  flier  is  provided  with  eyes  1 L,  the  latter  of  which  is  situated  at 
the  top  of  the  sleeve  G*,  and  is  at  right  angles  to  the  axis  of  rotation.  At  the  bottom  of  the 
coiling  fliers  are  stop-pins  A'^  (see  Fig.  830)  projecting  into  slots  in  the  flange  of  the  whirls. 
These  stops  make  the  rotation  of  the  coiling-fliers  positive. 

As  before  stated,  there  are  in  the  machine  shown  in  the  drawing,  Fig.  826,  six  of  the  horizon- 
tal whirls,  three  of  which  drive  the  coiling-fliers,  the  other  three  driving  the  uncoiling-fliers. 
These  latter  resemble  the  coiling-fliers  in  shape,  having  uprights  connected  by  bottom  rings, 
which  rest  loosely  within  the  flanges  of  the  whirls,  but  which  (unlike  the  coiling-fliers)  are  not 
positively  connected  therewith,  the  weight  of  the  flier  alone  being  the  means  by  which  it  receives 


F.G.  825. 


Fig.  826. 

its  motion  from  the  whirl.  The  uncoiling-fliers  have  eyes//^  at  top  and  bottom,  respectively, 
the  latter  being  the  eye  which  delivers  the  thread  to  the  spool  or  body.  They  have  also  at  the 
top  a  brake  mechanism. 

A  tubular  stem  extends  down  through  the  axis  of  rotation  of  each  of  the  uncoiling-fliers, 
and  is  held  in  the  cross-bar  E'.  These  stems  receive  bearings  at  the  top  of  the  uncoiling-fliers. 
The  spools  or  bobbins  of  the  uncoiling-fliers  fit  snugly  around  the  stems  and  are  supported  upon 
standards  which  also  surround  said  stems,  but  which  are  mounted  upon  a  vertically-movable 
cross-piece  arranged  to  be  reciprocated  in  a  vertical  direction.  The  spools  or  bobbins  of  the 
uncoiling-fliers  are  thus  adapted  to  receive  a  rising  and  falling  movement  within  the  flier  during 
the  rotation  of  the  latter,  and  in  this  respect  differ  from  the  spools  of  the  coiling-fliers,  \vhich  are 


183 


stationary  so  far  as  vertical  movement  is  concerned.  The  upper  ends  of  the  fliers  extend  Into 
openings  in  the  shelf  or  platform,  provided  with  rings,  and  are  thus  shielded  during  rotation. 
The  latter  shelf  is  hinged  at  the  rear,  so  as  to  be  thrown  back  when  the  fliers  are  to  be 
removed. 

The  brake  mechanism  of  the  uncoiling  fliers  is  constructed  as  follows :  Upon  the  top  of  each 
sleeve  there  is  pivoted  upon  one  side  a  lever,  through  the  centre  of  which  there  is  a  vertical  hole 
coinciding  with  the  opening  of  the  stem.  This  lever  has  at  its  rear  end  a  cam-surface,  which, 
when  the  lever  is  in  a  horizontal  position,  rests  without  substantial  pressure  against  the  stem. 
At  the  front  end  of  the  lever  is  an  eye  through  which  the  thread,  which  is  being  uncoiled,  passes, 


Fig.  827.  Fig.  828. 


and  thence  rises  to  the  eye  i,  mounted  upon  the  top  of  the  flier.  So  long  as  the  portion  of  the 
thread  between  the  eye  and  the  axis  of  rotation  of  the  fliers  is  substantially  horizontal  the  lever 
will  remain  in  a  horizontal  position ;  but  if  that  portion  of  the  thread  rises  to  an  angle  with  the 
horizontal,  then  the  strain  upon  the  eye  will  raise  the  front  end  of  the  lever  and  bring  the  cam  p 
gradually  around,  so  as  to  press  upon  the  top  of  the  stem.  The  cam-surface  being  eccentric,  as 
it  turns  in  the  direction  of  its  longest  axis,  it  will  raise  the  flier  /^bodily  by  bearing  upon  the  top 
of  the  stem,  and  in  so  raising  it  will  lift  the  flier  clear  of  the  whirl,  so  that  motion  will  be  no 
longer  imparted  to  the  flier.  If  desired,  the  lift  may  be  such  as  to  bring  the  upper  part  of  the 
flier  into  frictional  contact  with  the  under  side  of  the  ring. 


184 


At  the  top  of  the  machine  is  mounted  upon  suitable  pins  the  spools  or  bobbins  M,  which 
contain  the  cord  which  is  to  form  the  core  for  winding  the  Astrakhan  warp  upon.  These  bobbins, 
like  the  coiling-fliers,  are  three  in  number,  and  the  cord  from  them  passes  through  feeding 
mechanism,  down  over  pulleys  mounted  upon  a  horizontal  shaft,  and  through  the  central  stem  of 
the  coiling-fliers. 

A  belt  conveys  motion  from  the  driving-shaft  to  a  pulley,  and  thence  by  gears  and  pinions 
a  very  slow  rotary  motion  is  imparted  to  the  shaft,  which  extends  entirely  across  the  top  of  the 
machine,  near  the  bottom  of  the  incline.  Upon  this  shaft  are  mounted  friction-rollers  S,  three  in 
number,  over  which  the  cord  passes  on  its  way  from  the  spools  M.  Upon  the  cross-piece  v  are 
mounted  overhanging  arms  which  support  the  shaft  Q,  on  which  are  mounted  friction-rollers 
bearing  down  upon  the  rollers  6".  The  shaft  Q  is  provided  with  a  spring  pressure  device,  con- 
sisting of  a  vertical  stem  having  a  sliding  collar  with  a  hook-shaped  projection,  which  engages 
with  the  shaft,  and  a  spring  whose  tension  is  adjustable  by  means  of  a  thumb-nut.  By  means  of 
this  tension  device  the  rollers  s'  can  be  caused  to  bear  upon  the  rollers  5  with  any  desired  degree 
of  pressure.  Therefore,  although  the  take-up  devices  at  the  bottom  pull  the  cord  with  some 
strain,  it  is  fed  to  them  by  the  positive  motion  of  the  rollers  6",  and  cannot  be  drawn  more  rapidly 
than  the  rotation  of  the  latter  will  permit.  A  similar  set  of  feeding-rollers,  w  w',  the  latter 
mounted  in  similar  spring-bearings,  are  arranged  to  deliver  the  cords  from  the  bobbins  0  to  the 
three  uncoiling-fliers  upon  the  other  side  of  the  machine ;  but  the  diameter  of  the  positive  feed- 


FiG.  829.  Fig.  830. 


ing-roUers  iv  is  less  than  that  of  the  feeding-rollers  S,  and  with  the  effect  of  feeding  more  slowly 
to  the  uncoiling-fliers  than  to  the  coiling-fliers. 

The  take-up  bobbins  0'  M  for  the  cords,  which  pass  from  the  coiling-fliers  and  uncoiling- 
fliers  respectively,  are  mounted  upon  horizontal  rotating  seats  R,  placed  at  the  bottom  of  the 
machine  and  driven  by  the  twist-belts  passing  around  pulleys  secured  to  the  seats.  The  twist- 
belts  are  so  arranged  that  they  can  slip  upon  their  respective  pulleys,  in  case  the  feed  from  above 
requires  such  slipping. 

In  order  to  wind  the  cords  upon  the  respective  bobbins  0'  M'  evenly,  a  traveling  guide-bar, 
E,  is  provided,  which  receives  a  slow  vertical  reciprocating  motion.  This  traveling  bar  carries 
vertical  rods,  which  rise  and  fall  with  it,  these  rods  being  guided  by  suitable  openings  in  the 
cross-bar  E.  The  rod  serves  merely  as  a  guide-rod,  but  the  other  two  rods  /,  carry  at  their 
tops  a  cross-piece,  which  supports  the  standards  of  the  bobbins  F.  Thus  if  a  vertical  reciproca- 
tion is  imparted  to  the  traveling  bar  E  its  motion  will  cause  the  bobbin  to  rise  and  fall  in  the  same 
manner. 

The  traveling  bar  E  is  provided  with  openings  or  eyes  opposite  to  the  bobbins  0'  M ,  which 
openings  guide  the  thread  during  the  rise  and  fall  of  the  bar,  so  as  to  distribute  it  equally  upon 
the  'bobbins. 

The  operation  of  the  machine  in  coiling  and  uncoiling  the  yarn  is  as  follows  : 
Upon  the  three  bobbins  M,  at  the  top  of  the  machine  (see  Fig.  826),  are  coiled  cords  which 
are  to  form  the  cores  for  winding  the  Astrakhan  warp  upon.    These  cores  are  carried  down  be- 
tween the  feeding  rollers  5  5',  over  three  of  the  rollers  v,  and  on  down  through  the  axes  of  the 


185 


three  coiling-fliers ;  the  passage  being  of  course  through  the  tubular  shafts.  They  then  are 
brought  down  and  passed  through  the  three  left-hand  eyes  of  the  traveling  guide-bar  E,  and  are 
secured  to  the  three  bobbins  0' .  The  Astrakhan  warps  which  are  to  be  coiled  are  wound  in  the 
first  instance  on  the  bobbins  G' ,  and  placed  in  position  within  the  three  coilmg-fliers.  The  ends 
of  the  Astrakhan  thread,  having  been  brought  through  the  eyes  /  /'  L,  are  tied  fast  to  the  three 
cores  at  a  point  just  above  the  fliers  G.  Assuming  now  that  the  proper  feeding  and  take-up 
movements  occur  at  top  and  bottom  of  the  machine,  respectively,  and  that  the  fliers  G  are  rapidly 
rotated,  it  will  be  seen  that  the  Astrakhan  thread  is  drawn  off  from  its  bobbin  and  coiled  tightly 
around  the  core.  As  the  coiling  progresses  the  feeding  and  take-up  movements  cause  the  com- 
posite cords  to  pass  down  through  the  tubular  shafts,  and  thence  to  the  bobbins  0' .  The  travel- 
ing guide-bar  E  causes  the  composite  cords  to  be  evenly  wound  upon  the  bobbins  0' . 

When  a  sufficient  quantity  has  thus  been  formed,  the  composite  cord — that  is  to  say,  the  core 
with  the  Astrakhan  warp  wound  tightly  around  it — is  removed,  steamed,  or  otherwise  treated  to 
render  its  twist  permanent,  and  is  then  ready  for  uncoiling.  A  portion  of  the  core  m  at  the  end 
of  the  composite  cord  is  left  uncovered  for  a  clearer  illustration. 

The  uncoiling  operation  is  as  follows  :  The  uncovered  end  portion  of  the  composite  cord 
(now  upon  the  three  bobbins  0  at  the  top  of  the  machine)  is  brought  down  through  its  feed- 
ing-rollers w  zu'  over  the  three  right-hand  rollers  v,  and  thence  down  through  the  tubular  shafts, 
through  the  three  right-hand  end  eyes  of  the  guide-bar  E,  and  secured  to  the  three  bobbins  Af. 
The  uncovered  portion  having  been  fed  down  until  the  commencement  of  the  covered  portion  or 
composite  cord  reaches  the  top  of  the  uncoiling-fliers.  Then  carry  a  loose  end  of  the  Astrakhan 
warp  through  the  eyes  of  the  lever  P  up  to  the  eye  i,  and  then  down  to  the  eye  /  at  the  bottom  of 
the  uncoiling-flier,  when  it  is  taken  across  to  the  bobbin  and  there  fastened.  The  feeding  move- 
ment at  the  top  and  the  take-up  movement  at  the  bottom  being  continued  and  the  uncoiling-fliers 
being  rapidly  rotated  in  the  proper  direction,  they  will  uncoil  the  warp  from  the  composite  cords 
and  wind  up  the  now  twisted  warp  upon  the  bobbins.  These  bobbins  have  the  proper  rising  and 
falling  motion  to  distribute  the  warp  evenly  upon  them.  The  uncoiling  movement  is  necessarily  a 
trifle  slower  than  the  coiling  movement,  hence  the  composite  cords  do  not  require  to  be  fed  so  fast  as 
do  the  cores  upon  the  other  side  of  the  machine.  This  difference  of  speed  is  produced  by  smaller 
diameters  of  the  feeding  rollers  w  as  compared  with  the  feeding  rollers  6".  The  uncoiling  operation 
continues  and  the  cores  are  wound  up  in  a  proper  manner  upon  the  bobbins  at  the  bottom  of  the  ma- 
chine so  that  they  can  be  again  transferred  to  the  positions  indicated  by  M  and  the  operation  re- 
peated. If  the  uncoiling  tends  to  progress  too  rapidly,  it  is  checked  by  the  brake  mechanism 
upon  the  uncoiling-fliers,  which  are  operated  by  the  portion  n'  of  the  warp  assuming  an  inclined 
position,  instead  of  substantially  a  horizontal  one,  between  the  eye  and  the  core  from  which  it  is 
unwound.  If  the  uncoiling  takes  place  too  rapidly,  relatively  to  the  downward  feed  of  the  core, 
the  point  of  the  uncoiling  will  rise  higher  and  higher  upon  said  cord,  and  will  thus  produce  that 
inclination  of  the  warp  necessary  to  operate  the  brake  mechanism.  The  uncoiling  of  the  warp  is 
thus  automatically  regulated  by  this  brake  mechanism  and  cannot  progress  with  such  rapidity  as 
to  tangle  the  warp  or  to  break  it. 

TAPESTRY  CARPET. 

Tapestry-carpet  is  a  warp  pile  fabric  in  which  the  loop  formed  by  the  face  warp-threads  is 
not  cut.  The  demand  for  its  production  is  found  in  the  need  of  a  cheaper  and  more  economical 
imitation  of  what  is  known  as  Brussels  carpet.  In  its  general  appearance  it  resembles  the  latter 
to  a  great  extent,  but  in  its  method  of  construction  differs  wholly  from  it,  as  may  be  seen  by  any 
one  that  examines  the  two  methods.  In  tapestry  carpets  three  different  systems  of  warp-threads 
are  used  :  A,  the  ground-warp ;  B,  the  pile-warp  or  face-warp ;  C,  the  stoffer  or  thickening-warp. 


186 


The  general  arrangement  for  the  warp  is:  • 
I  end  ground  or  binder-warp, 

I  end  double  or  three-ply  thread,  of  stout  linen  for  strengthening  or  thickening  the  body  of 
the  carpet,  resting  in  the  fabric  below  the  pile-warp  and  actually  forming  the  main  part 
of  the  back  of  the  structure. 

I  end  double  thread  of  worsted  for  face-warp  forming  the  pile,  by  being  interlaced  into  every 
third  opening  of  the  shed  over  a  wire,  as  required  for  the  face  of  these  fabrics. 

I  end  ground  or  binder-warp. 

4  ends  in  repeat  of  arrangenaent  of  warp  (=  one  set);  to  be  reeded  into  one  dent. 

The  pile  or  face-warp,  before  being  wound  upon  the  warp-beam,  has  the  pattern  printed 
on  it  by  wrapping  the  threads  around  a  large  cylinder,  and  coloring  them  according  to  the 
design. 

The  length  of  a  certain  color  for  each  pile-thread,  required  for  each  individual  loop  when 
woven,  is  regulated  by  the  size  of  the  needles  used. 

Fig.  831  illustrates  the  example  of  a  pile-warp  printed  as  required  before  weaving.  The 
same  illustrates  four  different  colors  :  black,  white,  heavy-shaded  and  light-shaded. 

Fig.  832  illustrates  the  same  pile-warp  as  it  appears  when  interlaced  into  the  fabric;  each 
effect  in  the  warp  being  reduced  to  its  required  size  or  proportion  to  the  corresponding  effect  in 
the  design. 

Fig.  833  illustrates  the  sectional  cut  of  the  fabric. 

A  and  A'  represent  the  ground-warp;  B,  the  thickening-warp;  C,  the  pile-warp;  W,  the  wire 
requiring  every  third  opening  of  the  shed.  Picks  i  and  2,  requiring  the  first  two  openings  of 
the  shed  in  the  repeat  of  three,  are  the  means  for  interlacing  the  ground-cloth  as  well  as  fastening 
the  pile  to  this  ground  structure. 

Fig.  834  illustrates  the  complete  draft,  or  weave  for  producing  a  tapestry  carpet.  Each 
warp-thread  and  pick  is  marked  in  accordance  with  previously  given  explanations. 

Different  Qnaliiics  of  Tapestry  Carpets. 

The  fineness  as  well  as  the  value  of  these  carpets  is  regulated  by  the  quality  of  the  material 
used  as  also  by  the  height  of  the  pile  and  number  of  pile-pick  (technically  known  as  number  of 
wires)  per  inch.    Seven  to  eight  wires  per  inch  are  about  the  usual  number  in  the  arrangement. 

Method  for  Ascertaining  Sise  of  Designing-  Paper  Wanted. 

The  designs  for  tapestry  carpets  are  generally  painted  on  the  squared  designing  paper  in 
about  a  size  equal  to  the  design  upon  the  face  of  the  fabric  when  woven.  Thus  the  number  ot 
small  squares  to  one  inch  in  a  horizontal  as  well  as  a  vertical  direction  on  the  designing  paper  is 
regulated  by  the  number  of  loops  in  the  woven  fabric,  both  in  the  direction  of  the  warp  and  the 
filling. 

In  some  cases  the  number  of  loops  is  equal  in  both  directions,  while  in  others  it  differs  to 
some  extent.  Designing  papers  known  as  8  x  8  to  i  inch  and  8x7  to  i  inch  are  those  most 
frequently  used.  Tapestry  carpets  are  generally  produced  27  inches  wide ;  therefore  the  design 
will  have  to  be  of  equal  width.  That  arrangement  for  the  design  may  be  selected  known  as 
the  "  half-over  pattern,"  or  one  that  has  one  complete  repeat  in  one  width ;  or  a  design  may  be 
produced  which  repeats  twice  (or  oftener  if  smaU  figures  are  wanted)  in  one  repeat  of  27  inches  in 
the  fabric. 

Lately  a  method  of  producing  effects  in  tapestry  carpets,  classified  as  "  sheeny  "  or  "  varie- 
gated," has  been  patented  in  this  country,  England  and  France,  but  is  nothing  more  than  a 


187 


method  of  arranging  the  design  of  the  carpet  so  as  to  make  use  of  more  or  less  soHd  colored 
pile-warp  yarn,  hence  requires  no  printing  for  this  amount  of  warp.  In  Fig.  835  such  an  effect 
is  illustrated ;  a  represents  the  solid  colored  threads,  b  represents  the  printed  threads.  Each 


Fig.  831.  Fig.  835. 


kind  of  pile-warp  is  operated  from  a  separate  beam ;  so  it  will  be  seen  that  a  general  range  of 
effects  can  be  produced  by  simply  var^'ing  the  solid  colored  threads  in  each  style,  leaving  the 
printed  warp  entirely  undisturbed. 


188 


BRUSSELS  CARPET. 

Brussels  carpet  is  a  warp-pile  fabric  in  which  figures  are  produced  by  raising  over  the  wire 
different  solid  colored  warp-threads  at  certain  places  according  to  the  design.  Brussels  carpets 
are  of  a  far  superior  character,  as  resj^ects  color,  quality  of  material  used  and  the  structure,  than 
the  tapestry  carpets  which  have  been  just  explained. 

In  Brussels  carpets  the  colors  used  are  generally  "  fast,"  as  the  yarn  is  hank-dyed  and  not 
colored  in  the  warp  as  is  done  with  the  tapestry  carpets. 

Brussels  carpets  are  technically  classified  by  "  frames,"  or  in  other  words  by  the  number  of 
different  colors  called  for  in  a  vertical  row  of  squares  on  the  designing  paper,  as  also  one  row 
of  loops  in  the  direction  of  the  warp  in  the  fabric. 

In  tapestry  carpets  one  double  thread  of  worsted,  printed  according  to  the  design,  is 
used  for  one  row  of  loops  (warp-ways)  while  in  Brussels  carpets  a  similar  double  thread  is 
used  for  each  color  as  required  by  one  row  of  squares  warp  ways  in  the  design.  One  color 
only  is  raised  at  the  time,  while  the  threads  then  not  called  for  rest  in  the  body  and  partly 
on  the  back  of  the  fabric ;  therefore  the  thickness  and  substance  of  the  fabric  is  not  due  to 
cotton  or  jute  thickening  threads,  as  in  the  body  of  the  tapestry,  but  the  same  pure  wool- 
thread  which  forms  the  face  will  at  every  place  not  called  for  by  its  color  in  the  design,  form 
part  of  the  "  body." 

The  ground-warp  in  Brussels  carpets  is  interlaced  with  the  filling  on  the  common  four- 

harness  basket-weave  ( )  arranged  so  as  to  have  each 

^^^^"^^^^^^^^^  ^^^^^^     t^^'o  successive  picks  insert  in  the  same  opening  of  the  shed 

(of  the  ground-warp)  and  only  separated  by  the  pile  warps. 
Fig.  836.  O'ls  pick  passes   above,  and  its   mate  pick   below  the 

pile  warp-threads  holding  the  latter  firmly  secured  between; 
thus,  if  the  raising  of  the  pile  warp  over  its  wire  for  forming  the  characteristic  loop  should  be 
omitted,  we  would  produce  nothing  more  than  a  fabric  interlaced  on  the  common  four-harness 
basket-weave  having  a  stout  packing  or  thickening  thread  in  the  centre. 

As  mentioned  before,  Brussels  carpets  are  graded  by  '^frames."  There  are  three-frame,  four- 
frame,  five-frame  and  six  frame  Brussels  carpets. 

Under  "  frame "  we  classify  the  number  of  different  colors  found  in  the  different  rows  of 
squares  in  a  vertical  direction  on  the  designing  paper ;  thus  a  three-frame  Brussels  carpet  has 
three  different  colors  in  one  row  of  loops  (warp-ways)  in  the  fabric.  Any  of  these  three  colors 
can  at  any  other  row  of  loops  (warp-ways)  be  exchanged  to  a  different  color  without  changing 
the  principle  of  a  "three-frame"  carpet. 

A  "four-frame"  Brussels  carpet  will  extend  the  number  of  colors  for  each  row  of  loops  to 
four  colors.  Thus,  a  "five-frame"  Brussels  carpet  will  show  five  different  colors  in  one  row 
of  loops  warp-ways.  A  "six-frame"  Brussels  carpet  will  extend  these  number  of  changes  to  six 
colors. 

Having  an  individual  warp-thread  for  each  color  in  the  formation  of  the  loops  will  also 
speak  greatly  in  favor  of  the  Brussels  as  compared  to  the  tapestry  carpets.  By  means  of  these 
separate  threads  the  design  will  be  more  clearly  defined  and  its  various  parts  more  pronounced, 
while  in  tapestry  carpets  the  figure  is  always  more  or  less  indistinct,  which  arises  from  the 
method  of  operation  by  which  the  pattern  is  produced. 

In  Brussels  carpets  the  different  colors  used  are  variously  distributed,  one  color  being  used 
to  a  greater  extent  than  the  other,  etc.  This  method  of  using  every  pile  warp-thread  at  will  and 
in  a  different  amount  than  another,  requires  us  to  use  instead  of  ordinary  warp  yarn  beams, 
bobbins  or  miniature  beams  fixed  in  frames,  or  a  huge  creel,  stationed  behind  the  loom.  The 
manner  in  which  the  different  colors  are  controlled,  in  other  words,  in  which  they  are  concealed 


189 


from  or  brought  into  view  upon  the  face  of  the  fabric  is  of  great  importance  in  the  manufacture 
of  this  article. 

Method  of  Structure  of  the  Brussels  Carpet. 

The  pile  (loop)  is  formed  the  same  as  in  common  (uncut)  velvet  fabrics  by  the  insertion  of 
wires  (see  Fig.  836)  under  the  pile-threads;  but  the  method  of  selection  is  different.  In  producing 
a  common  velvet  fabric  we  raise  either  the  entire  warp  or  one-half,  etc.,  over  each  wire,  while  in 
Brussels  carpet  we  select  for  each  individual  loop  from  a  series  of  duplicate  threads  (set-frame) 
each  of  which  has  a  different  color.  Another  difference  between  a  common  velvet  fabric  and  a 
Brussels  carpet  is  found  in  the  manner  of  operating  the  pile-warp  during  the  insertion  of  ground- 
picks.  In  common  pile  fabrics,  as  explained  in  precediaig  articles,  the  pile-warps  interlace  up 
cmd  down  in  the  body  of  the  fabric,  while  in  Brussels  carpet  the  face  or  pile-warp  rests  during 
the  time  it  is  not  used  for  forming  loops  in  a  straight  line  in  the  body  of  the  fabric. 

Three-frame  Brussels  Carpet. 

Fig.  837  illustrates  part  of  a  design  technically  known  as  a  "  three-frame  "  Brussels  carpet. 
In  the  same  the  different  colors  for  8  loops,  warp  and  filling-ways  (which  equals  in  the  present 


r  a  ■■ 

1  B 

Fig.  837. 


8th  wire. 
7th  wire. 
6th  wire. 
5th  wire. 
4th  wire. 
3rd  wire. 
2nd  wire, 
ist  wire. 


_iaDKiaaDaDKaaaisinaaanEaDDagiDnDaDKaDQE24 
□        ■  >fl       "BUDnnaDDL  c;  t 

□E  ■  ■  ■  ■  ■  .EHKIHHHSCE  ■  ■  .-1 
□Lj  .,    _GUBGDnHDC  ■] 

nca    ..  g       jH  :_.,.j_.fl^.j,.u«GDCHnaDGa  j 

E)HaGi/jEii.;joGHaHE!»iujGujuaadQQKiaHHElaigBl;jGBuQEGa 
HDGGKIQDDGDKlCDUBCDnaDglDGDSlDaDaDBDODKiDCDUa 

□□□■aDBGGnaaaBDGHaDDnBaDGDacBDGHDaDGDaap 

□□aGGBGGaHBaaGaHDGaHGaGaQSaGGEiaGaGDEinaDa 

□□□□GDBnaaGGCBDGBDGGaBDDGGGGBGGBDaGODGBa 

KBBaBDBBgaKBBBIElDBBBaEjBBQBGBBBaElQHBHGBBEia 

BCDGBGDanGHaGaHaGGGGKiGGBBaGaaGEiaanEGanaa 


GGB" 
□E.:.  ■ 

Qua 

"]BE  ' 


■.laGGGGBGaGHanaca 

^aaBBBaSBBBHGF ■ - 
^SGGGGGSlGGaHaL ' 
-IGGGGBGaGHaGGL  Q 
.EEGKBBBBaBBHGKE'l  ■  i 


SGGGHCGGUQBaGuiaGGGGGHGGGBGQGGGBGQuEGGELjJ 

aBaaGGaGBGGBGGGaaHGGaaQannBoaGGGaBCGBGuG 

GaaBBHBBBISaBBBBElBBaHGHBGGEiEBBKiaBBEaglBEESl 


2nd 
dent. 


3rd 
dent. 


dent. 


6th 
dent. 


7th 
dent. 


8th 

dent.  I 


Fig.  838. 


example  8  by  8  =  64  loops)  are  indicated  for  each  color  by  a  separate  kind  of  type.  In  the  same 
Hne  of  the  design  (looking  at  the  design  lengthways),  apparently  in  the  same  thread,  three  colors 
form  the  pile  in  succession,  which  is  practically  produced  by  employing  three  distinct  threads, 
each  of  which  is  so  controlled  that  it  only  appears  in  the  pile  when  required  to  produce  the 
design. 

In  Fig.  838  the  ground  plan  of  the  method  of  interlacing  is  shown.    On  the  top  of  the  plan 
the  arrangement  of  the  warp  is  indicated. 
I  end  binder-warp. 

3  ends  face  or  pile-warp,  each  representing  a  two-fold  end  of  worsted  and  each  of  these  3  so 

indicated  pile-threads  to  be  of  a  different  color  than  the  other. 
I  end  binder-warp. 


5  ends  in  the  repeat  of  arrangement  for  the  warp.  Thus  5X8  =  40  threads  of  warp  in  ground 
plan,  representing  the  construction  of  a  3-frame  Brussels  carpet,  similar  to  the  one  shown  in 
design  Fig.  837. 


190 


In  plan  Fig.  838  every  shed  for  inserting  the  wire  is  represented  on  the  left  side  of  the 
design ;  and  on  comparing  with  the  part  of  the  design  of  the  face,  Fig.  837,  it  represents  the 
threads  as  indicated  in  the  latter  raised  from  each  set. 

Pick  I  in  the  design  calls  for  i  ■,  i  ■,  i  ■,  2  i  i  ■,  !■.  Examining  wire  I  in  the  plan  we 
find  the  selecting  of  the  different  colors  from  each  set  arranged  accordingly. 

Thus  we  select — 

From  the  first  set 
"       second  " 

third  " 

fourth  " 

fifth 
"       sixth  " 
"  seventh" 
"       eighth  "     ■,  etc. 

Pick  2  in  the  design  calls  for  3  a,  2  ■,  3  a,  and  the  colors  of  the  face-warp  for  raising  over 
wire  number  2  in  the  plan  are  selected  accordingly. 

From  the  first  set  of  3  pile  warp-threads  we  call  for 
second  " 
third  " 
fourth  " 
fifth  " 
"  sixth  " 
"  seventh" 
eighth  " 

Pick  3  is  a  repetition  of  pick  number  2, 

Pick  4  in  the  design  calls  for  i  q,  i  ■,  i  ■,  2  ■,  i  i  ■,  i  o,  and  the  colors  of  the  pile-warp 
raising  over  wire  number  4  in  the  plan  are  selected  to  correspond. 

From  the  first  oet  of  3  pile  warp-threads  we  call  for  a. 

second  " 

fourth  " 
fifth 

sixth  " 
seventh  " 
eighth  " 

Pick  5  in  the  design  calls  for  i  i  ■,  i  2  ■,  in,  i  i  a,  and  the  colors  of  the  pile-warp 
raising  over  wire  number  5  are  selected  to  correspond. 

From  the  first  set  of  3  pile  warp-threads  we  call  for  ■. 
second  " 
third  " 
fourth  " 
fifth 

sixth  " 
seventh" 
eighth  " 

Picks  6  and  7  are  duplicates  of  picks  numbers  2  and  3. 


191 


Pick  8  in  the  design  calls  for  i  ■,  i  h,  i  2  a,  i  ■,  i  i  ■,  and  the  pile  warp-threads  raising 
over  wire  number  8,  as  shown  in  the  plan,  are  selected  to  correspond  in  colors. 

From  the  first  set  of  3  pile  warp-threads  we  call  for 
second  "       "  "  "  " 

third     "       "  "  "        "  ■ 

fourth   "       "  "  "        "  □ 

fifth       "        "  "  "        "  □ 

sixth     "       "  "  "        "  ■ 

"       seventh"       "  "  "        "  ■ 

eighth   "       "  "  "        "  ■ 

Any  pick  that  will  be  called  for  in  any  complete  design  always  has  its  method  of  interlacing 
arranged  similar  to  the  principle  explained  in  the  specimen  8  picks  of  part  of  a  design  given  for 
example. 

Pile. 


Fig.  839. 


Fig.  840. 


The  two  binder  warp-threads  working  between  each  set  of  threads  in  Brussels  carpet  of  any 
frame,"  interlace  with  the  filling  as  shown  in  Fig.  839. 

The  reeding  of  a  3-frame  Brussels  carpet  is  arranged  for  "  I  binder,  3  pile,  I  binder,"  in  each 
dent ;  thus  splitting  by  the  reed  a/ways  the  two  binder  warp-threads. 

Fig.  840  illustrates  the  section  of  a  3-frame  Brussels  carpet.  In  the  same,  threads  marked 
d  and  e  represent  the  binder-threads.  A,  B,  C,  represent  the  3  different  colored  pile  warp-threads. 
Wires  1,2,  3,  4,  5,6,  7,  illustrate  the  section  of  the  wires  as  used  in  the  opening  of  the  3d,  6th, 
9th,  I2th,  15th,  i8th,  and  21st  opening  of  the  shed.  Picks  i,  2,  4,  5,  7,  8,  10,  11,  13,  14,  16,  17, 
etc.,  of  the  ground  structure  of  the  fabric  are  indicated  by  shaded  circles. 


□QHBaKBHEianQEISDKHQBa 

KHHBKIDBBHaBBHSgiaBBEa 
EDGDKiCQBGaglDGGSlDDDDa 


Fig.  842. 


Fig.  841. 


The  binder-warp  is  drawn  in  two  common  harness  frames  which  are  placed  in  front  of  the 
Jacquard-harness.  The  face  or  pile  is  drawn  in  the  Jacquard-harness,  which  is  tied  up  for  as 
many  sections  as  there  are  frames  in  the  carpet,  so  that  in  the  present  example  of  a  3-frame  car- 
pet we  must  use  a  3-section  tie-up.  (See  section  on  "tie-ups"  in  my  treatise  on  The  Jacquard,  etc.) 
By  forming  the  shed  for  the  insertion  of  a  wire  only  one  pile  warp-thread  from  each  set  is  raised, 
as  is  required  by  the  design.  If  the  pile-warp  in  a  carpet,  constructed  as  thus  far  explained,  is 
cut,  the  name  Brussels  is  changed  to  Wilton. 


192 


Diagram  Fig.  841  illustrates  the  method  of  interlacing  a  3-frame  Brussels  carpet.  This 
diagram  readily  explains  itself  on  examination.  Warp-threads  indicated  hy  A,  B,  C,  are  the  three 
different  colored  pile-threads  required  (as  explained  before).  Thread  A  is  shown  blank,  thread  B 
shaded,  and  C  black.  The  binder  or  body  warp-threads,  situated  in  the  fabric  on  each  side  of  the 
face-threads,  are  indicated  by  /  and  2.    The  ground  picks  and  places  for  inserting  the  wires  are 


a 


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a 

c 

1:: 
1:: 

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in,  „  1,  iffl  itjB 

1  8 

6th  wire, 
5th  wire. 

Fig.  843. 

4th  wire. 
3rd  wire, 
and  wire 

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aGnHGaaHDaDDDnaaBaDDDBGGanQpaGDaaBmaDHaaDDDDPGa 

GGaaaaHaDDDHGGaaoGHGnDGBDaGaaDBGaDnBaQDGDDBGalGGK 

□aGBaGaDGHaGGBDaanGaGBGGGGaBGCGDHGDanGGGBGDaCBDa 
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□□GaB8aaaQBDGnnc]waaQGnnaGaHGDCGQanHaoaGG«GonaG«aa 

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11 


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ist 


2nd 
dent. 


7rd 
dent. 


4th 

dent. 


dent. 


6th 
dent. 


7th 
dent. 


8th 
dent. 


48 1 


Fig.  8zt4. 


marked  on  the  bottom  of  the  diagram.  P  on  the  top  of  the  drawing  represents  the  interlacing 
of  the  fabric,  omitting  the  loops,  and  thus  giving,  at  a  glance,  the  correct  j^rinciple  of  interlacing 
the  body. 

Fig.  842  illustrates  the  weave  for  this  part.  Shed  for  "  wire  "  omitted.  ^  on  the  top  of  the 
drawing  Fig.  841  represents  the  entire  procedure.  The  wire  marked  /  calls  for  the  raising  of 
warp-thread  C  {—  black)  for  forming  the  face  of  the  fabric.  Wire  marked  2,  the  successive  wire, 
calls  for  the  raising  of  warp-thread  B  (=  shaded)  for  forming  the  face  of  the  fabric. 


[39[:  :  ■■□ 
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:  x 

8th  wire 

7th  wire. 
6th  wire. 

Fig.  845a. 

5th  wire. 
4th  wire. 
3rd  wire, 
find  wire, 
zst  wire. 

□■B 

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,  GDaGaaaanGGGBOGGGGEBGaDDn  ■  "■QGBGGGaaaBaaaaQ 

GEEBEHGKBBBEBEluEEaGEaKB"  ■  —  aDBBBEEDElBBBEBB 

GaaGGGGigiuDGGGKianGaaaGgiG-  saaGacEGKOGGDag 
,  GBaGGGaaaaaaGGfiaaaaaGaa.j  .,q  .     a      _       :  ijGGaGHGaaaBGGQEG 

HBaEBBKlGaBHEBGBlEEaBaKGBaBQBGBGaiJ'BaEGEBaaBGBBBQBBHGEBQQBP 

HEGGCGKGGGGQGGEiGGaGasGEGEaGDiaGaaQG^QaQaaaaiEiaGOGQBiaaGaDDa 
.  aHnaaaGaHaaaGEGGaaaGQGaaaDaaGaaaBEaaaHanaaaaGBaaaGaaBGDD 

aBG3BaG«aBaBaslGBaBBaGBlEBB0BHGBE]aaEGHEa'^aE?^^aEBS0GHBBBHSH 

GaGDGGaaGGaDaBaGGaanniaaDcTJGKaGGO.  "t:-:  "  LnaDGGma 
.  □acHaGGEBnacaGGBEaGGGLiGHaanDGGnnr  .  a       n  ,'ji.,QHGGa 

ISBBBaBKiaEBBEBaHEBaQQEIGEaEQQDKiEaE!"- ■:    ■  •   •  :-UGlEE)BEP 

BGaGaasaDGGGGagiGaaGasiaaGaaGaBECCL"  -  ;-:jaGCEan 

aaaBGEGaaDwaGDaBGaaGaQBaDGGGCGacij.LJG,,ui_i_n_.LL:L.LH.  .;GGHL:aaa 

EBaaaaEgiaaEaESGBEBBaGiaBBBBaHaBBQaEEHQBBBEHQaBEEEGiaBBBEESll 
11  ist  I  2nd  I  3rd  1  4th  I  5th  I  6th  I  7th  I  8tli  W 
I    dent.    I    dent.     I     dent.     I    dent.         dent.     I    dent.     1    dent.     \    dent.  I 


Fig.  8456. 


Wire  marked  3,  the  next  successive  wire,  calls  for  the  raising  of  warp-thread  C  (=  blank) 
for  forming  the  face  of  the  fabric. 

Warp-threads  2-C-B-A-i  are  drawn  in  one  dent  of  the  reed,  as  indicated  on  the  left-hand 
side  of  the  drawing. 

Fig.  843  illustrates  part  of  a  Brussels  carpet  design  classified  as  a  "four-frame." 


198 


Fig.  844  furnishes  an  analysis  of  the  latter.  The  difference  in  the  construction  of  a  "four- 
frame,"  as  compared  to  a  "three-frame"  carpet,  consists  in  its  having  four  different  colored  pile 
warp-thieads,  instead  of  only  three,  as  in  the  latter,  so  that  the  figuring  possible  in  both  carpets 
is  equal  in  proportion  as  4  is  to  3. 

Having  thoroughly  described  the  method  of  constructing  the  "  three-frame  "  carpet,  the 
present  "  four-frame  "  design  will  the  more  readily  explain  itself 

Fig.  845  a  illustrates  part  of  a  design  for  a  "  five-frame  "  carpet,  which  in  Fig.  845  h  is  also 
analyzed. 

Brussels  and  Wilton  carpets  are  made  up  to  and  including  "  six-frames,"  also  "  in  part  of 
full  frames"  (after  the  "  three-frame  "),  as  may  often  be  required  in  order  to  cheapen  the  fabric. 


DOUBLE-FACED  PILE  CARPETS 

In  which  the  Pile  is  Produced  by  Inserting  a  Special  Heavy  Filling-Cord 

Instead  of  a  Wire. 

The  construction  of  these  fabrics  has  for  its  object  the  production  of  a  cheap,  strong,  firm 
and  durable  double-faced  carpet,  wherein  the  figure  at  each  side  of  the  fabric  is  derived  from 


A.  i  e.  A'.  I  c  A" 


i 

i 

Fig.  847. 


Fig.  848. 


face-warps  appearing  upon  one  and  then  upon  the  other  side  of  the  fabric  for  one  or  more 
rib-picks.  In  addition  to  the  face-warp  there  is  also  used  a  binder-warp,  usually  having  two  threads 
worsted  face-warp  alternate  with  one  end  binder-warp.  These  face  and  binder-warp-threads  are 
interlaced  into  one  fabric  \>y  means  of  two  kinds  of  filling,  the  interior  (heavy)  filling  and  the 
binder-filling.  The  binder-filling  at  alternate  picks  passes  above  all  the  face-warps  and  then 
below  all  the  face-warps.  The  binder-filling  is  tied  to  the  upper  and  then  to  the  lower  side  of 
the  face-warp  by  the  binder-warp,  two  picks  of  binder-filling  and  two  picks  of  stuffer  (interior, 
heavy  or  cord)  filling  being  put  in  in  succession.  The  binder-warp  is  lifted  into  the  upper  half 
of  the  shed  between  the  insertion  of  the  first  and  second  picks  of  stuffer  (cord)  filling,  the  binder- 
warp  thus  splitting  the  stuffer  or  interior  filling.  The  crossing  of  the  warp  and  filling  is  such  as 
to  enable  the  two  picks  of  interior  or  stuffer,  when  beat  up  into  the  shed,  to  lie  nearly  one  over 
the  other,  forming  ribs  opposite  each  other  at  opposite  faces  of  the  fabric. 
Fig.  846  represents  a  longitudinal  section. 

Fig.  847  is  a  diagram  representing  the  arrangement  of  the  warp  and  filling  as  they  interlace 
in  the  fabric. 


194 


Fig.  848  illustrates  part  of  a  design  (face  and  back)  corresponding  to  diagram  Fig.  847. 

The  threads  shown  in  Figs.  846  and  847  are  separated  for  a  clearer  understanding  of  their 
working ;  but  in  the  actual  fabric  they  are  beat  closely  together  by  the  reed  and  appear  somewhat 
similar  to  those  illustrated  in  part  of  a  design  (effect)  Fig.  848. 

Method  of  Operation. 

These  carpets  are  produced  on  an  ordinary  two-box  Jacquard  loom  with  the  addition  of  front- 
harness.  For  the  binder-warps  an  independent  harness  or  set  of  harness  is  provided,  being 
operated  through  a  cam  on  the  picker  shaft.  The  sheds  for  the  binder-filling  are  formed  by  the 
binder-warps  on  the  one  hand  and  by  all  the  face  or  body-warps  on  the  other  hand.  The  face- 
warps  (indicated  by  letters  E,  E ,  G,  G'  in  Figs.  846  and  847),  which  are  generally  of  worsted  and 
of  different  colors,  and  dyed  or  printed  according  to  the  colors  and  patterns  it  is  desired  that  the 
carpet  shall  show,  will  be  operated  on  by  a  Jacquard  machine  of  the  usual  construction,  so  as  to 
split  the  face-warps  at  suitable  intervals  to  form  sheds  for  the  introduction  of  the  stuffer  or 
interior  filling  (indicated  by  letters  E,  A',  in  Figs.  846  and  847)  carried  by  a  shuttle.  The  face 
warp-threads  uppermost  or  at  one  side  of  the  fabric  remain  at  that  side  of  the  fabric  for  as  many 
picks  as  desired,  and  then  are  carried  to  the  other  side  of  the  fabric. 

The  binder-warps  (indicated  by  letter  d  in  Figs.  846  and  847)  are  carried  by  one  or  two 
harness  frames  and  are  distributed  at  suitable  intervals  between  the  face-warps.  They  are 
arranged  so  as  to  appear  at  both  sides  or  face  of  the  fabric  between  each  two  picks  of  interior 
(or  stuffer)  filling. 

Method  of  Successive  Interlacing  of  the  Warps  and  Fillings. 

Examining  Figs.  846  and  847  from  the  right  to  the  left,  it  appears  that  pick  i  has  all  the 
face-warp  down  and  the  binder-warp  raised,  thus  forming  a  shed  between  all  of  the  face-warp 
and  binder-warp  to  receive  a  pick  of  binder  filling. 

Pick  2 — the  second  binder-pick — has  all  the  face-warp  raised  and  all  the  binder-warp 
lowered. 

Pick  3  has  one-half  of  the  face-warps  raised,  which  with  the  binder-warp  then  down,  forms 
a  shed  for  receiving  the  first  stuffer  or  interior  filling. 

Pick  4  has  one-half  of  the  face-warp  and  the  binder-warp  in  the  upper  part  of  the  shed,  and 
the  other  half  of  the  face-warp  in  the  lower  part.  (This  pick  is  not  illustrated  in  Fig.  847,  it  being 
opposite  to  pick  3.) 

This  operation  is  repeated  until  such  time  as  it  is  desired  that  the  face-warp  uppermost  in 
the  last  shed  to  receive  the  stuffer  or  interior  filling  shall  be  made  to  appear  at  the  opposite  side 
of  the  fabric.  When  it  is  desired  to  make  the  warp  upon  one  face  of  the  fabric  show  for  one 
or  more  sheds  upon  the  opposite  face  of  the  fabric,  these  face-warp-threads  are  themselves  bodily 
carried,  as  indicated  at  the  line  F,  from  the  upper  to  the  lower  part  of  the  shed. 

DOUBLE-PILE  FABRICS. 

Principles  of  Construction  of  the  Plain  "Double  Plush." 

The  end  to  be  gained  in  the  manufacture  of  warp  pile  fabrics  of  the 
present  division  is,  the  production  of  two  single  velvet  (or  similar)  fabrics 
with  one  operation  of  the  loom.    In  the  manufacture  of  double  plush  the 
^^B^   ' wires  so  conspicuously  referred  to  in  speaking  of  warp  pile  fabrics,  are 
omitted.    The  pile-warp-threads,  after  interlacing  into  the  "body  structure" 
Fig.  849.  ^j^^  single  fabrics,  pass  across  to  the  "  body  structure  "  of  the 

other  fabric,  where  in  turn  they  are  interlaced  before  returning  to  the  fabric  from  which  they 


195 


started.  Constantly  exchanging  pile-warp-threads  from  one  cloth  to  the  other  forms  the  principle 
of  double-pile  weaving,  and  is  illustrated  in  diagram  Fig.  849  by  a.  After  combining  the 
pile  of  a  two-ply  fabric  in  the  manner  previously  explained,  its  pile-warp-threads,  running 
across  the  centre  or  interior  of  the  fabric,  are  cut  automatically  by  means  of  an  attachment  on 
the  loom  known  as  the  "  cutting  knife."  The  variously  constructed  knives  in  practical  use,  as 
well  as  the  methods  of  their  operation,  are  treated  later  on. 

Methods  in  Use  for  Interlacing  the  Pile-warp  in  Double-plush  Fabrics. 

Various  methods  for  exchanging  the  pile-warp  in  weaving  "  double  plush,"  as  also  the  different 
ways  of  interlacing  (or  fastening)  these  pile  warp-threads  to  the  ground-cloth  of  each  fabric,  are 
in  practical  use.    An  explanation  of  a  few  of  these  is  given,  whereby  a  pretty  clear  conception 


Fig.  850. 

may  be  had  of  the  method  of  interlacing  double  plush.  Diagram  Fig.  850  illustrates  the  section 
of  a  double-plush  fabric.  In  this,  four  distinct  warp-threads  are  visible,  and  are  indicated  by  the 
numbers  i,  2,  3  and  4.  These  four  warp-threads  and  the  sixteen  sections  of  the  filling  illustrate 
one  repeat  of  the  arrangement  of  the  warp  and  filling,  as  well  as  the  method  of  intersecting 
both  systems,  technically  known  as  their  weave.  Line  A  X.o  B  m  the  diagram  indicates  the  direc- 
tion for  cutting  the  pile-warp. 

In  diagram  Fig.  85 1,  another  method  for  forming  double  plush  is  shown.  The  diagram 
illustrates  the  section  from  a  specimen  fabric. 

In  this,  two  distinct  sets  of  warp-threads  (shown  by  dotted  lines)  form  the  body  structure  for 
each  individual  single  "  plush  fabric,"  while  the  pile  is  produced  by  a  separate  set  of  warp-threads 
which  alternately  interlace  into  one  and  then  the  other  body-structure.  The  body-warp  for  the 
uf^r  fabric  is  indicated  by  letters  A  and  B,  and  that  for  the  lower  by  D  and  E.  Line  F  \.o  G 
shows  the  course  through  which  the  pile  is  cut  to  produce  the  two  separate  plush  fabrics. 

% 

1  2  1  2  3  ■£ 
■□□□■-6  ) 

□QBOa— 5  ^  Picks  for  the  top  fabric. 
■□□CJB-4) 

HDfflc:)*-!  J  Picks  for  the  bottom  fabric. 
HGBQG-l  ) 

(i  denotes  face  fabric,  a  bottom 
fabric,  3  pile-warp.) 

Fig.  851a. 

An  analysis  of  the  section  shown  in  Fig.  851  gives  as  follows:  Picks  i,  2  and  3  for  the 
lower  fabric  and  picks  4,  5  and  6  for  the  upper  fabric. 

Fig.  85I<^  is  a  plan  of  the  method  of  interlacing,  technically  known  as  the  "weave." 
2  harnesses  are  required  for  the  body-warp  of  the  upper  fabric ;  2  harnesses  for  the  body-warp  of 
the  lower  fabric  and  i  harness  for  carrying  the  pile-warp;  thus  5-harness  in  repeat.  In  reeding 
the  warp  five  threads  must  be  put  in  one  dent. 

To  produce  a  well  covered  full  face  in  the  fabric,  two  kinds  of  ground  or  body-warp  must 
be  used.  One  kind  for  threads  working  as  shown  by  warp-threads  A  and  E,  or  tighter  than  the 
other  body-warp,  or  threads  working  the  same  as  warp-threads  B  and  D,  which  operate  with  less 
tension ;  hence  two  beams  are  necessary  for  the  body  or  ground-warp,  with  one  beam  for  carrying 
the  pile-threads. 


Fig.  851. 


196 


The  adjusting,  or  "setting"  of  the  harness  is  such  that  when  the  loom  is  at  rest  the  set  of 
warp-threads  for  the  upper  section  of  the  fabric  is  in  a  sufficiently  elevated  position  as  compared 
to  those  for  the  lower  cloth.  The  method  of  operation  for  the  harness  is  such  that  for  the  picks 
of  the  upper  cloth  harnesses  are  lowered,  and  for  picks  for  the  lower  fabrics  harnesses  are 
raised.  This  method  of  weaving  double  plush  only  requires  one  shuttle,  and  the  weaving  is  per- 
formed the  same  as  ordinary  weaving. 


abcdi2i-2 
■  :\ 

■nn  J 

■  .3 

■ 

IB-  aa 

\  I:  m  jg 
atij'jBaajj 


Fig.  852. 


□□□□ 

□HDH 
□GDH 

□HDH 
1  2 

Fig.  852a. 


(  ,-,  ::b;-3 


:  ■      ::  ■ 

::■  i-a 

c.  ■ 

■  1 13 

.  VMS 

□f:  .: 

-.  ■  ■ 

IBKB 

■  /M 

1 

Fig.  852c. 


-5' 

1 


U-JM. 


□ 


■ 

■  I 
■ 

m  ■ 

::::  1 

■  1 
u::bb^  b  ::::bb::  i 

a  muWa  a;:  BB::a 

B._'_B  _.^:;jn..^__,B_ij. 

lBUaBBBBBBGDBBB( 

1  8 

Fig.  852^. 


□■nHBBnH 

may.  bo 
y.  DB  :  DB 

□B  DB 

ua    ma  1 

(  :  DB  OB 
r    BO  BD 

ma  ma 
am    am  : 
ma  ma 
t:  DB  na 

□a:  ■  r.m  I 
ma  ma 

CiDB  DB 

iGUBD.jjaa 

1  * 

Fig.  852^. 


-s 

qo:qd:qd:qd:qd:q  d:q  D 


<  € 


A  Jk  .4  A 


Fig.  8526. 


The  arranging  of  three  successive  piCKS  alternately  for  each  fabric  is  of  no  disadvantage  to 
either  structure.  Each  plush  fabric  will  show  the  same  smooth  surface  after  cutting.  Diagram 
Fig.  800,  on  page  170,  in  the  chapter  on  the  construction  of  single  plush  and  velvet  fabrics 
represents  the  section  for  each  separate  single  cloth  of  the  double  plush  illustrated  in  Fig.  851. 

Fig.  852  illustrates  another  plan  for  weaving  double  plush.  In  this  instance  a  double  shuttle 
loom  is  used  (cam-loom  principle),  using  each  shuttle  for  interweaving  in  the  one  system  of  the 
structure.  Consequently  two  sheds  must  be  formed  at  one  operation  of  the  loom,  which  is  effected 
by  using  for  the  pile-warp  "  Cams  "  which  are  capable  of  holding  the  harness  frames  in  three 


197 


different  positions,  "  the  bottom,"  "  the  centre,"  or  "  the  top  "  part  of  the  complete  double  shed. 
It  will  be  readily  understood  that  "  the  centre  "  refers  to  the  upper  division  of  the  lower  shed,  as 
well  as  the  bottom  division  of  the  upper  shed. 

In  Fig.  852  the  first  4  harnesses,  for  future  reference  indicated  by  letters  a,  b,  c  and  d,  repre- 
sent the  pile.  In  the  same  the  ■  type  indicates  the  raising  of  a  harness  in  the  top  division  of  the 
upper  shed  or  "  the  top,"  the  ■  type  indicates  the  placing  of  the  harness  for  forming  "  the  centre  " 
(being  also  the  temporary  "  shuttle-race "  for  the  shuttle  interlacing  the  upper  ground  fabric). 
This  position  is  also  technically  known  as  "  dwelling."  The  □  type  indicates  the  lowering  of  the 
harness  for  forming  "  the  bottom  "  of  the  lower  shed  in  the  loom.  The  rear  4  harnesses  indicate 
the  working  of  the  ground  warp.  Harnesses  indicated  by  i  form  the  one  body-structure, 
while  the  harnesses  indicated  by  2  form  the  other  body-structure.  Each  set  of  the  ground- 
harnesses  (l,  I  and  2,  2)  is  placed  by  a  respectively  high  or  low  strapping  into  its  proper 
position  for  guiding  either  the  ground  or  body  warp  of  the  upper  or  lower  ground-cloth. 
The  drafting  for  the  present  weave  is  i  end  ground-warp  for  the  top  cloth,  I  end  ground-warp  for 
the  lower  cloth,  2  ends  pile-warp,  thus  4  threads  in  one  repeat. 

Fig.  85212  illustrates  the  separate  weave  for  interlacing  each  body-structure,  being  the  com- 
mon (2-harness,  4  pick.s)  rib-weave,  or  the  common  plain  two  picks  in  a  shed. 

In  Fig.  85 2(^,  six  respective  diagrams  are  given  for  illustrating  the  compound  weave 
Fig.  852.  Diagram  indicated  by  a  represents  the  section  of  the  corresponding  pile  warp- 
thread  a  in  the  weave  ;  diagram  b  shows  the  section  of  pile  warp-thread  b  in  the  weave ;  diagram 
c  illustrates  the  section  of  pile  warp-thread  c  in  the  weave,  and  diagram  d  refers  to  pile  warp- 
thread  d  in  the  weave.  The  ground  or  body-warp  working  close  by  the  pile-warp  is  shown  by 
the  dotted  lines  in  each  diagram.  Letter  A,  in  all  the  diagrams  shown  under  Fig.  852  b,  indicates 
the  upper  fabric  and  letter  B  the  bottom  fabric.  Horizontal  line  c  to  /  indicates  the  direction  for 
cutting  the  pile  as  performed  afterwards.  In  diagram  s  of  Fig.  852Z1,  the  complete  interlacing  of 
all  the  four  pile-threads  in  a  fabric  is  shown.  In  the  same,  ground-warps  (as  previously  shown)  are 
omitted  so  as  to  give  a  clearer  understanding  of  the  subject.  Letters  of  reference  are  also 
selected  to  correspond  w  ith  the  previously  explained  diagrams  a,  b,  c  and  d,  as  well  as  to  diagram 
t,  which  illustrates  the  section  of  the  four  pile  warp-threads  when  cut  (ground-warp  again  omitted). 

In  Fig.  852<r,  a  separate  analysis  of  one  fabric  from  the  double  structure  is  given,  showing 
4  pile  and  2  body  warp-threads  and  8  picks  for  its  repeat.  Warp-threads  I  and  4  for  body, 
warp-threads  2,  3,  5  and  6  for  pile,  a  shows  the  raising  of  the  body-warp  ,  □  shows  the  lowering 
of  the  body-warp  ;  ■  shows  the  raising  of  the  pile-warp  ;  h  shows  the  lowering  of  the  pile-warp 
for  two  picks  down  so  as  to  interlace  with  the  body-structure  by  means  of  raising  in  both  adja- 
cent picks  ;  H  shows  the  lowering  of  pile-warp  for  four  picks  so  as  to  form  the  pile  by  means  of 
interlacing  with  the  mated  body-structure  (not  shown). 

Fig.  852^/ shows  the  complete  analysis  executed  in  the  regular  double-cloth  principle,  ordin- 
ary weaving,  one  shuttle  work ;  thus  only  raisers  or  sinkers  and  no  centre  or  "  dwell,"  and  hence 
8  warp-threads  and  16  picks.  Warp-threads  i,  2,  5  and  6  are  for  the  body-warp  and  the  warp- 
threads  3,4,  7  and  8  for  the  pile-warp. 

In  Fig.  85  2t',  a  special  plan  illustrating  the  working  of  the  pile-warps,  as  previously  explained, 
is  given.  □  and  ■  show  the  interlacing  in  fabric  \  ox  A.  b  and  o  show  the  interlacing  in  fabric 
2  ox  B. 

Methods  of  Operation  in  Use  for  Producing  Double-Pile  Fabrics  and  the  Different 

Systems  of  Cutting  the  Pile-Threads. 

As  mentioned  at  the  beginning  of  the  present  chapter  on  double-pile  fabrics,  both  single- 
cloth  fabrics  after  being  woven  on  the  double-cloth  system  must  be  separated,  or  the  pile  cut  in 
the  centre  of  the  float  from  the  one  body-structure  to  the  other.    Two  methods  are  in  practical 


198 


use  for  cutting  this  pile.    First,  the  pile-warp  is  cut  automatically  on  the  loom  on  which  it  is 
J,     p  woven,  and  second,  the  pile-warp  is  cut  after  the  fabric  has  left  the  loom. 

-z>  1^^^=^'    The  first  method  is  the  one  most  generally  adopted,  and  the  illustrations 
and  explanations  of  some  of  the  processes  most  frequently  used  are  given. 
Fig.  853.  Diagrams  853,  854,  855,  856,  857  and  858  illustrate  C.  R.  Garratt's  inven- 

tion as  to  the  mechanism  for  cutting  double-pile  fabrics. 

Fig.  853  illustrates  at  M'dxo.  section  of  the  double-pile  fabric,  at  D  the  section  of  the  cutting 
knife,  liberating  with  it  both  separate  pile-cloths  as  shown     N  N. 

Fig.  854  illustrates  a  plan-view  of  part  of  a  loom  having  the  before-mentioned  arrangement 
attached. 

Fig.  855  is  a  front  elevation,  with  the  bracket,  which  supports  the  operating  shaft  as  well  as 
this  shaft  and  its  driving-pulley  and  bevel-gear,  removed. 

Fig.  856  is  a  plan-view  of  the  knife,  showing  the  manner  in  which  the  cords  are  attached. 

Fig.  857  is  the  side-view  of  a  loom  (of  a  different  make  than  the  one  before)  which  has  the 
cutting  arrangement  attached. 


Fig.  854.  Fig.  855. 


The  letters  used  for  indicating  the  different  parts  in  these  five  diagrams  are  identical.  An 
examination  of  the  same  gives  us  as  follows : 
A  illustrating  the  framework  of  a  loom. 

B  representing  the  mainshaft,  journaled  in  the  framework,  and  provided  with  a  driving 
pulley. 

C  is  a  cross-piece  located  at  the  front  of  the  loom,  provided  with  a  groove  extending  across 
the  loom,  in  which  the  knife  D  reciprocates.  The  main  portion  of  the  cutting-edge  of  this 
knife  is  straight,  but  the  ends,  or  corners,  are  rounded,  so  that  the  knife  will  cut  equally  well 
when  moving  in  either  direction,  while  the  straight  cutting  edge  between  the  rounded  corners  is 
adapted  for  cutting  the  pile  in  a  smooth  and  effectual  manner  through  very  short  reciprocating 
movements  of  the  knife.    At  the  opposite  ends  of  the  knife  cords  are  attached,  which  pass  over 

pulleys  F.    One  of  these  cords  is  attached  to  a  spring  G,   

which  is  secured  to  the  floor.    The  other  cord  or  wire  is  |V\''\  \ 

attached  to  a  lever,  which  is  pivoted  in  a  bracket  secured  to  ^     .    .1  IlJj — li — L_!i__^J===— 

the  framework.    This  lever  can  be  arranged  to  vibrate  either  Fig.  856. 

by  means  of  a  cam  or  crank. 

In  the  present  illustration  the  first  mentioned  arrangement  is  used.  The  acting  of  the  cam 
upon  the  lever  H  forces  the  latter  outward,  and  consequently  forces  the  knife  to  the  extreme 
right  of  the  groove  against  the  power  of  the  spring  G.  The  action  of  the  spring  as  it  contracts 
is  to  draw  the  knife  to  the  extreme  left  of  the  groove,  and  at  the  same  time  to  draw  the  lever 
inward. 


199 


Fig.  853,  as  previously  alluded  to,  illustrates  at  N  the  two  separate  single  pile  fabrics.  In 
diagram  Fig.  857,  the  method  of  "  taking  up  "  these  fabrics  without  injuring  the  pile  is  shown. 
After  drawing  the  fabrics  over  the  edges  of  the  "  breastbeam  "  of  the  loom,  they  are  guided  over 
two  "take-up  rollers,"  X,  opposite  each  other,  which  have  a  roughened  surface,  and  by  which  the 
fabrics  are  held  taught  and  drawn  backward  from  the  knife,  so  that  the  centres  of  the  uncut  pile 
will  be  evenly  presented  for  the  cutting.  After  passing  the  "  take-up  "  rollers  N,  the  fabrics  fall 
into  the  cloth-box  5. 

This  method  of  keeping  the  fabric  loose,  and  not  tightly  wound  around  its  "  take-up  "  or 
cloth  beam  as  in  common  weaving,  preserves  the  beauty  of  the  pile.  The  previously  explained 
method  of  operating  the  cutting  knife  may  also  be  changed  so  as  to  have  it  operated  on  by  the 
lay.  This  principle  is  illustrated  in  diagram  Fig.  858.  In  this,  the  one  cord  (formerly  con- 
nected to  a  lever)  is  shown  attached  to  the  lathe  0  of  the  loom.  This  lathe  is  operated  in  any 
ordinary  manner,  so  that  the  knife  will  be  reciprocated  in  its  guiding-groove  at  each  throw  of  the 
lathe. 


Fig.  857.  Fig.  859  a.    Fig.  859  b. 


Another  kind  of  "  cutting  knife  "  is  shown  in  Figs.  859^  and  859^.  Fig.  859^  illustrates 
the  plan-view,  and  Fig.  ?>S9b  the  section.  In  operating  this  "  cutting  knife "  the  long  teeth 
enter  between  the  two  pieces  of  cloth  while  the  lateral  movement  of  the  top  blade  cuts  the 
pile-threads.  In  the  diagram  blade  A,  shown  shaded,  is  the  movable  blade,  and  is  situated  upon 
B,  the  fixed  blade  which  is  shown  in  outline. 

Figs.  860,  861,  862,  863  and  864  illustrate  a  mechanism  for  severing  double-pile  fabrics  in 
the  loom  in  which  it  is  woven,  as  invented  by  A.  Bacon. 

Fig.  860  is  the  side-view  of  a  loom  necessary  to  illustrate  the  construction  and  mode  of 
•  application  of  the  attachment  for  severing  the  double-pile  fabric  produced  on  the  loom. 

Fig.  861  is  a  front-view  of  the  same  loom  and  the  cutting  device,  with  the  sharpener  for  the 
cutting  knife  removed. 

Fig.  862  is  a  plan-view  of  the  same  loom  and  the  cutting  device. 

Fig.  863  illustrates  a  perspective  view  of  the  cutting  device ;  the  sharpening  attachment  for 
the  knife  is  illustrated  separately,  in  front,  and  detached  from  its  supports,  so  as  to  give  a  clearer 
understanding  of  the  main  features  of  the  device. 

Fig.  864  is  a  transverse  section  (enlarged)  on  the  line  i,  2,  in  Fig.  862. 


200 


The  letters  indicating  the  different  parts  of  the  cutting  device,  as  well  as  the  loom,  are 
identical.    The  following  description  will  readily  show  the  manner  in  which  the  cutting  device 

is  attached  to  the  loom.  Also  the  method  of  opera- 
tion of  the  former,  with  a  general  description  of  its 
construction. 

(This  device,  as  claimed  by  the  inventor,  can 
also  be  adjusted  to  any  other  kind  of  loom  with  a 
few  appropriate  changes,  such  as  may  be  required 
by  the  style  of  loom  to  be  adjusted.) 

Parallel  with  the  breastbeam  of  the  loom  (see 
A  in  drawings)  and  a  short  distance  in  front  of  it  is 
a  bar  B,  which  is  carried  by  projecting  brackets  X, 
and  forms  a  guide  for  a  slide  D,  the  latter  carrying 
a  stud,  on  which  is  free  to  turn  a  spur-wheel  a,  to 
the  upper  face  of  which  is  secured  a  circular  cutter 
F.  This  spur-wheel  engages  with  a  rack  b,  which 
is  secured  to  the  upper  face  of  the  guide-bar  B,  so 
that  as  the  slide  D  is  caused  to  reciprocate  trans- 
versely in  the  guide  a  rapid  rotary  motion,  first  in 
one  direction  and  then  in  the  opposite  direction, 
will  be  imparted  to  the  cutting-disk  F.  One  end 
of  the  slide  D  is  connected  to  one  end  of  a  belt  G, 
which  passes  around  pulleys  d,  supported  on  the 
frame  of  the  loom.  The  opposite  end  of  this  belt  is 
connected  to  a  stud /,  projecting  from  one  of  the  links  of  a  chain-belt  H,  adapted  to  sprocket-wheels 
/,  mounted  upon  studs  g'^,  secured  to  and  projecting  from  the  loom-frame.  A  similar  belt  G^,  passing 


Fig.  860. 


Fig.  861. 


around  like  pulleys  d,  serves  to  connect  the  opposite  end  of  the  slide  D  to  the  stud  /,  so  that 
when  r-otary  motion  is  imparted  to  the  sprocket-wheels  /  the  stud  /,  traveling  with  the  belt  H, 


201 


will,  through  the  medium  of  the  belts  impart  a  transverse  reciprocating  movement  to  the  slide 
D,  and  thus  cause  the  cutter  F\.o  pass  to  and  fro  through  the  web  of  fabric,  so  as  to  cut  the  pile- 
threads  and  separate  the  compound  fabric  into  two  single  fabrics,  each  having  a  cut-pile  surface. 

In  order  to  insure  uniform  cutting  of  the  pile,  the  movement  of  the  slide  and  its  cutter  must 
be  smooth  and  steady,  as  any  jarring  or  jerking  of  the  slide  or  cutter  causes  irregularity  in  the 


862. 


cut  and  unevenness  in  the  length  of  pile  on  the  fabrics  produced.  This  smooth  and  steady  move- 
ment is  secured  by  means  of  the  driving  mechanism  shown  ;  there  is  a  gradual  dimunition  in  the 
speed  of  the  slide  at  and  near  each  end  of  its  traverse  and  a  gradual  acceleration  of  speed  as  it 
starts  on  the  return  movement. 

Rolls  f  J,  between  which  projects  the  cutting  edge  of  the  knife  F,  are  acted  upon  so  as  to 
press  the  rolls  J  J  toward  each  other  and  into  contact  with  the  opposite  sides  of  the  knife. 


Fig.  863.  Fig.  864. 


The  rolls  J  are  coated  with  abrading  material,  and  extend  throughout  the  traverse  of 
the  knife,  so  that  the  cutting-edge  of  the  latter  is  at  all  times  under  the  sharpening  influence  of 
the  rolls,  and  a  keen  edge  is  thereby  maintained.  (This  cutting  device  can  also  be  used,  applied 
to  a  machine  for  cutting  double  pile  fabrics  after  the  woven  cloth  has  left  the  loom,  instead  of 
being  used  directly  in  connection  with  the  loom  in  which  the  fabric  is  woven.) 


202 


Drawings  Figs.  865,  866,  867,  868,  869,  870,  871,  872  and  873,  represent  C.  Pearson's  inven- 
tion for  cutting  on  the  loom  double  pile  velvets  and  similar  pile  fabrics  during  the  weaving 
process. 

The  invention  of  the  present  system  for  separating  the  double  pile  fabric  into  two  separate 
single  pile  fabrics,  consists  in  employing  two  pile-severing  knives,  which  are  caused  to  travel 
laterally,  each  a  distance  only  half  the  width  of  the  fabric,  in  a  transverse  guide-plate  or  race. 

The  letters  of  reference  in  the  drawings  denote  like  parts  in  the  several  views  given. 


Fig.  865. 


Fig.  865  represents  a  side  elevation  of  part  of  a  loom  for  weaving  double  pile  fabrics.  The 
drawing  also  illustrates  one  of  the  "  knife  carriages  "  with  its  actuating  mechanism,  and  part  of 
the  sharpening  mechanism  adjacent  to  it  with  a  part  of  its  actuating  mechanism.  Fig.  866  is  a 
front  view  of  part  of  the  loom.  Fig.  867  illustrates  a  transverse  vertical  section  of  the  grooved 
race-bar ;  also  one  of  the  cutting-knives  mounted  in  its  carriage,  and  one  set  of  the  sharpening- 
roUers  with  its  frame  or  "  housing." 


Fig.  866.  Fig.  867. 


Fig.  868  is,  partly,  a  sectional  front-view  of  a  pair  of  the  sharpening-roUers  mounted  in  their 
frame  with  a  portion  of  the  velvet  rail  or  cutting  bar. 

Fig.  869  is  a  top-view  of  the  transversely  grooved  guide-plate  or  race-bar  in  which  the  • 
knife-carriages  are  reciprocated,  and  the  parallel  supporting-bar  in  which  the  fabric  is  cut  by  the 
laterally-traveling  knives. 

Fig.  870  is  an  enlarged  view  of  the  parts  at  one  end  of  Fig.  869,  showing  the  transversely 
grooved  race-bar,  a  knife-carriage  with  its  knife,  and  the  stopping  mechanism  in  the  race-bar. 


203 


Fig.  871  is  a  cross-section  view  of  the  velvet  delivery  rollers,  one  of  the  pile  severing  knives, 
and  the  supporting  bars,  showing  the  relative  position  of  these  several  parts. 

Fig.  872  is  a  transverse  section  of  the  inside  of  that  part  of  the  loom  shown  in  Fig.  865  from 
the  outside. 

Fig.  873  is  a  transverse  sectional  view  of  the  loom,  showing  the  location  and  arrangement 
of  the  crank-shaft  and  connecting-gear,  one  of  the  pulley-wheels,  and  the  sharpening  mechanism 
with  its  actuating  mechanism  for  one  of  the  knives. 


Fig.  870. 


The  method  of  operation  and  principle  of  construction  of  the  cutting-device  is  illustrated  by 
drawings  Figs.  865  to  873  inclusive. 

By  means  of  the  double  cam  C,  operating  the  rack-bar  and  cog-gearing,  alternate  partial 
revolutions  in  each  direction  are  given  to  the  pulley-wheel  F,  to  which  are  secured  two  cords  or 
bands,  the  other  end  of  each  of  which  is  attached  to  the  "  knife-carriage,"  one  cord  on  one  side 
and  one  on  the  other  side  thereof,  so  as,  by  the  alternate  partial  revolutions  of  the  pulley-wheel  in 


Fig.  871.  Fig.  872. 


opposite  directions,  to  pull  the  carriage  backward  and  forward  transversely  along  the  grooved 
guide-plate  or  race  of  the  loom.  A  similar  set  of  cords  and  a  knife-carriage  are  provided  for 
each  side  of  the  loom,  both  knife-carriages  moving  in  the  same  guide-plate  alternately,  each  only 
about  half  the  distance  across,  and  each  alternating  in  its  lateral  travel  from  side  to  centre  of  the 
race-plate. 

Transversely  across  the  frame  of  the  loom  are  arranged  two  bars  or  rails,  R  and  S,  their 
relative  positions  being  as  shown  in  Fig.  869,  the  former  being  merely  a  bar  or  rail  supporting 


204 


the  double  pile  fabric  while  it  is  being  severed  in  two  through  the  pile  by  the  laterally-moving 
cutting-knives.  Bar  R  is  recessed  near  each  of  its  ends  (see  Figs.  868  and  869)  to  admit  of  the 
insertion  and  support  therein  of  the  housings  for  the  sharpening-roUers,  and  so  that  the  upper  and 
lower  sharpening- rollers  shall  come  alternately  in  contact  with  the  upper  and  lower  sides,  res- 
pectively, of  the  knife-blade,  as  shown  in  Fig.  867. 

The  bar  5  is  a  grooved  transverse  guide-plate  recessed  at  each  of  its  ends,  to  hold  two  sets 
of  friction-rollers,  over  which  the  knife-actuating  cords  pass  to  the  corresponding  pulley-wheel  F, 
and  having  one  wide  groove  its  entire  length,  serving  as  a  race  for  the  knife-carriages  T  T.  At 
the  bottom  of  this  groove  are  two  smaller  parallel  grooves,  extending  to  the  recesses  at  each  end 
of  the  plate,  and  within  which  the  knife-cords  are  moved.  Two  cross-bars,  i  and  2,  are  secured 
to  the  bar  5  at  each  end,  supporting  a  guide-rod,  6,  having  an  enlarged  inner  end,  which  serves 
as  a  stopper  for  the  knife-carriage,  and  upon  the  rod  6  are  placed  two  pieces  of  india-rubber 
tubing,  4  and  5,  and  between  them  a  metal  band,  3,  which  may  be  slipped  along  the  rod  against 


Fig.  873.  Fig.  874. 


the  tubing  and  fastened  tight  at  any  point  thereon  by  a  set-screw.  By  this  arrangement  the 
rubber  tubing  acts  as  an  elastic  cushion  for  the  stopper-rod  and  in  turn  for  the  knife-carriage. 
The  movable  metal  band  also  permits  of  lateral  adjustment  of  the  stopper-rod,  thereby  producing 
a  variation  in  the  resistance  encountered  by  the  knife-carriage.  This  mechanism  is  shown  in 
detail  in  Figs.  869  and  870,  the  latter  showing  only  one  end  of  the  bar  S,  the  other  end  containing 
similar  mechanism  for  the  other  knife-carriage. 

The  knife  K,  to  cut  the  connecting  pile  latterly  between  the  two  backings,  is  secured  in  a 
holder,  K' ,  mounted  in  a  carriage,  T,  moving  laterally  in  the  large  groove  of  the  race-bar  ^ 
backward  and  forward  half  the  length  of  the  bar,  from  about  its  centre  to  its  either  end,  by  means 
of  the  pulley  and  cords  before  mentioned.  The  end  of  the  knife-holder  K'  swings  upon  a  cross- 
bar, passing  through  it  and  having  its  bearings  in  the  carriage  T.  A  spring  is  coiled  around  this 
cross-bar  on  either  side,  with  its  ends  fastened  to  the  carriage,  so  that  the  tendency  is  to  press  the 
knife-blade  down  upon  the  supporting-bar  R,  or  upon  the  velvet  resting  thereon,  and  cause  the 
knife  to  travel  in  its  reciprocating  motion  in  a  straight  line  and  cut  the  pile  evenly. 


205 


Each  knife-carriage  is  provided  with  two  pulley-cords — fastened  one  at  each  end  thereof,  one 
cord  passing  from  the  right-hand  carriage  over  the  friction  roller  at  that  end  of  the  bar  5  to  and 
partially  around  the  pulley-wheel  in  one  direction,  and  has  its  end  knotted  in  the  periphery 
thereof  The  other  cord,  fastened  to  the  other  end  of  the  knife-carriage,  passes  along  one  of  the 
small  grooves  in  the  bar  ^  to  the  other  or  left-hand  end  thereof,  where  it  passes  over  a  similar 
friction-roller  and  back  under  the  bar  5  to  another  friction-roller,  7,  and  thence  to  and  partially 
around  the  pulley-wheel  F,  (in  an  opposite  direction  from  the  other  cord)  to  which  it  is  fastened. 
A  like  set  of  cords  are  arranged  for  the  other  or  left-hand  knife-carriage.  This  arrangement 
causes  the  knife-carriages  to  be  moved  backward  and  forward  in  the  carriage-race  when  and  as 
the  pulley-wheels  wind  up  either  cord  successively ;  the  w  heels  being  turned  by  means  of  the 
mechanism  operated  by  the  cam  C. 

Upper  and  lower  velvet-rollers  L' L' ,  Fig.  871,  suitably  mounted  in  the  frame  of  the  loom,  take 
up  the  two  pieces  of  pile  fabric  cut  apart  through  the  connecting  pile  by  the  laterally- reciprocating 
knives  K,  and  draw  forward  the  uncut  double  pile  fabric  to  the  traveling  knives  as  it  is  deliv- 
ered over  and  upon  the  velvet-rail  or  cutting-bar  R.  These  rollers  L' L'  are  geared  together  and 
actuated  by  a  worm,  to  which  motion  is  communicated  from  the  picking  shaft,  or  any  other  suit- 
able actuating  mechanism. 

Machine  for  Cutting  Double  Pile  Fabrics  After  Leaving  the  Loom. 

As  previously  mentioned  in  the  chapter  on  double  pile  fabrics,  in  some  instances  the  separat- 
ing of  both  pile  cloths  is  not  done  in  the  loom  during  the  process  of  weaving,  but  a  separate 
machine  is  necessary  for  cutting  the  fabric  afterwards.  In  using  such  a  cutting  device  for  separa- 
ting both  cloths  the  former  must  produce  a  suitable  feeding  and  tension  upon  the  fabric  during 
the  operation  so  as  to  divide  the  pile-threads  midway  between  the  two  "body-structures"  (backs). 
As  the  length  of  pile  in  any  such  fabric  is  not  always  uniform,  it  is  difficult  to  maintain  the 
cutting  line  midway  between  the  webs,  and  in  order  to  avoid  the  risk  of  cutting  into  the  fabrics  at 
places  where  the  weaving  is  irregular  it  is  necessary  to  use  a  longer  pile  than  would  otherwi.se 
be  required,  thus  consuming  more  material  than  is  needed  for  the  finished  fabric,  and  also  requir- 
ing the  divided  fabric  to  be  "shorn"  (afterward)  to  a  greater  extent  than  would  otherwise  be 
necessary. 

An  invention,  lately  patented  by  J.  A.  Campbell  of  Philadelphia,  is  designed  to  obviate  these 
difficulties  by  making  the  straining-bars,  over  which  the  newly-divided  fabrics  are  drawn,  self- 
adjusting  and  self-centering,  so  that,  whether  the  original  double  pile  fabric  be  thick  or  thin,  the 
dividing-line  shall  always  be  midway  between  the  two  fabrics. 

Diagram  Fig.  874  is  a  side-view  of  that  portion  of  a  machine  which  has  this  improvement 
attached. 

The  method  of  operation  is  made  fully  comprehensible  by  the  following  explanations  given 
with  reference  to  the  letters  used  in  the  diagram. 

At  Ji  is  shown  the  double  pile  fabric  passing  in  between  the  plates  B'  B'^,  and  at  g  is  shown 
a  section  of  the  dividing-knife,  while  at  i  and  k  are  shown  the  divided  fabrics  passing  off. 

The  operation  of  the  device  is  as  follows  :  The  uncut  fabric,  being  drawn  in  at  //  by  the 
action  of  any  suitable  feeding  mechanism,  passes  between  the  plates  or  jaws  B'  B^,  and  is 
divided  by  the  knife  g,  after  which  the  divided  fabrics  pass  off  at  i  and  k,  being  drawn  taut  by 
suitable  winding  mechanism.  The  springs  c  c,  being  adjusted  to  a  proper  tension  by  the  thumb- 
nuts  d  d,  tend  to  draw  the  jaws  or  plates  B'  B^  together,  and  so  the  fabric  which  is  being  divided 
is  held  firmly  between  the  said  jaws  B'  B^  during  the  operation  of  cutting.  The  divided  fabrics 
i  and  k,  being  drawn  taut,  tend  to  draw  the  jaws  B'  B^  apart ;  but  this  tendency  is  resisted  by  the 
springs  c  c.    As  the  toothed  segments  C       are  firmly  fastened  to  the  jaws  B'  B^,  it  follows 


206 


that  any  motion  of  the  jaw  B'  will  be  communicated  to  the  toothed  segment  C ,  and  from  thence 
through  the  toothed  segment  C"^  to  the  jaw  B",  and  so  any  motion  of  the  jaw  B' ,  to  or  from  the 
cutting-line,  will  be  accompanied  by  a  corresponding  motion  of  the  jaw  B'^.  If,  from  any  irregu- 
larity in  weaving,  the  two  fabrics  of  the  double  pile  fabrics  are  closer  together  or  farther  apart  at 
various  points  than  the  normal  distance,  the  jaws  B'B'^  will  press  together  or  be  forced  apart,  but 
always  to  an  equal  extent,  and  hence  the  two  webs  will  always  be  kept  at  an  equal  distance  from 
the  cutting-line,  no  matter  how  irregular  their  distance  from  each  other  may  be. 

Weaving  Two,  Three  or  more  Narrow  Widths  or  Pieces  of  Double  Pile  Fabrics  at  once. 

The  weaving  of  two  or  more  narrow  widths  of  double  pile  fabrics,  side  by  side,  in  a  broad 
loom,  also  requires  the  production  of  fast  selvages  for  each  special  narrow  width.  For  this  pur- 
pose we  must  form  two  adjacent  selvages  with  fast  edges  at  any  desired  part  of  the  width,  both  of 
the  upper  and  lower  cloths  of  the  double  pile  fabric,  as  also  selvages  in  the  upper  cloth  imme- 
diately above  the  selvages  in  the  lower  cloth.  To  form  a  fast  edge  to  each  inner  selvage,  a  warp 
binding-thread  to  cross  with  the  outermost  warp  of  the  selvage  and  becoming  knit  together 
therewith  must  be  employed.  Any  desired  number  of  fast  inner  selvages  may  be  formed  in  this 
way  in  the  width,  so  that  the  fabric  may  be  divided  into  widths  of  any  required  size  by  cutting 


Fig.  877. 


both  the  upper  and  lower  cloths  lengthwise  between  the  pairs  of  fast  selvage  edges,  which  have 
been  made  in  these  cloths. 

The  construction  of  such  "  fast "  .selvages,  properly  belonging  to  the  division  on  gauze  or 
cross-weaving,  will  be  explained  later  on. 

Diagram  Fig.  875  illustrates  a  perspective  view  of  a  short  length  of  a  double  pile  fabric 
woven  face  to  face,  with  fast  inner  selvages. 

Diagram  Fig.  876  shows  a  perspective  view  of  one-half  of  this  fabric  when  the  pile  has  been 
severed  and  the  upper  cloth  separated  from  the  lower  cloth. 

Diagram  Fig.  877  shows  two  separated  pieces,  obtained  by  dividing  the  fabric  shown  at 
diagram  876  longitudinally  between  the  fast  selvages  which  are  formed  in  it.  In  these  diagrams  U 
is  the  upper  cloth,  L  is  the  lower  and  P  is  the  pile. 

The  two  parallel  lines  5  S,  which  run  lengthwise  of  each  cloth,  represent  the  fast  edges  of  the 
inner  selvages. 

Let-off  Mechanism  for  the  Pile  Warp  for  Weaving  Double  Pile  Fabrics. 

In  double  velvet  weaving  there  is  one  great  difficulty  to  contend  with,  namely,  to  keep  the 
two  pieces  of  cloth  an  equal  distance  apart.  To  do  this  a  regular  supplying,  guiding  and  deliver- 
ing of  pile-warp  is  required,  otherwise  any  additional  strains  would  draw  the  two  pieces  nearer 
together,  and  the  pile  would  be  irregular. 


207 


Diagrams  Figs.  SySa,  878/;  and  879  illustrate  the  arrangement  for  effecting  the  letting-off, 
supporting,  guiding  and  delivering  of  the  pile-warp,  and  represent  C.  Pearson's  Patent. 

Fig.  878a  illustrates  a  side  elevation  of  that  part  of  a  loom  containing  the  necessary 
mechanism  as  mentioned. 

■  Fig.  878/;  is  a  detached  view  of  some  of  the  parts  and  taken  from  Fig.  8ySa. 

Fig.  879  is  a  diagram  showing  the  arrangement  and  position  of  the  several  rollers  and  parts 
constituting  this  mechanism. 

The  letters  indicating  the  different  parts  in  this  mechanism  are  as  follows :  A  represents  the 
frame  of  a  loom.  G  and  H  are  the  beams  containing  the  pile-warp.  The  latter  threads  are 
delivered  from  these  to  a  guide-roller  secured  in  the  frame  of  the  loom,  and  thence  to  a  pair  of 
metal  rollers,  C  C,  turned  perfectly  true  and  covered  with  cloth,  plush,  or  other  like  rough-surface 
material,  in  order  to  create  friction  between  the  surface  of  the  roller  and  the  warp-threads.  These 
rollers  are  mounted  upon  shafts  having  bearings  in  a  bracket  bolted  to  the  frame  of  the  loom. 
They  are  independently  rotated  toward  each  other  with  unvarying  uniformity  and  precision  by 
means  of  worm-wheels  d  d  on  the  axes  thereof,  which  engage  with  two  screws,  F  F,  one  for  each 


Fig.  878a.  Fig.  879. 


roller,  one  being  a  left-hand  screw  and  the  other  a  right-hand  screw,  on  a  horizontal  shaft,  E, 
which  has  its  bearings  in  brackets  XX,  also  secured  to  the  side  of  the  frame  A.  One  end  of 
this  shaft  E\s  provided  with  a  beveled  gear-wheel,  which  engages  with  a  similar  beveled  gear-wheel 
on  the  end  of  the  picking«shaft  D,  and  is  thus  continuously  driven.  The  other  end  of  shaft  bears 
against  a  rod,  L,  in  the  bracket  X,  provided  with  jam-nuts,  in  order  thereby  to  secure  desired 
pressure  against  the  shaft  and  its  actuating-wheel,  more  especially  when  actuated  by  friction  as  a 
substitute  for  the  gear-wheels  shown.  The  pile  warp-threads  are  delivered  directly  from  the  guide- 
roller  R  to  one  of  the  metal  rollers  C,  and  under  and  around  the  same,  and  from  thence  in  like 
manner  under  and  around  the  other  roller,  these  rollers  rotating  toward  each  other,  and  from 
the  last-mentioned  roller  C  the  pile-warp  is  carried  to  a  second  guide-roller,  5,  supported  horizon- 
tally in  the  frame  A,  and  is  from  thence  taken  up  by  vertical  rods  Y,  held  up  by  pull-springs 
to  support  the  warp  in  its  passage  to  the  heddles,  and  to  create  the  necessary  tension  thereon  to 
hold  the  same  taut. 

Carrying  the  pile  warp-threads  to  a  point  over  the  main  rollers  C  the  loose  waste  driven  off 
by  the  operation  will  drop  onto  the  warp  after  passing  the  second  roller,  C,  injuring  the  pile-warp 
and  clogging  the  mechanism.    To  prevent  this,  a  shield,  T,  is  arranged  over  the  second  roller, 


208 


consisting  of  a  flat  tin  or  other  suitable  plate  extending  from  side  to  side  of  the  loom  and  secured 
to  its  frame. 

Another  arrangement  for  delivering  the  pile  warp  in  looms  for  weaving  double  pile  fabrics  has 
been  lately  invented  by  Mr.  Fred.  Pearson.  This  invention  consists  of  a  mechanism  for  the  proper 
feeding  of  the  pile  warp  into  the  harness,  and  is  placed  in  such  a  position  in  the  loom  as  to  pre- 
vent any  fibres  or  other  substances,  which  may  be  freed  from  the  warp  yarn  as  it  passes  over  the 
mechanism  (friction  rollers),  from  falling  into  the  latter,  and  thus  injuring  the  warp-yarn  as  well  as 
clogging  the  mechanism.  Another  advantage  Mr.  Pearson  assigns  to  his  invention  is  the  means 
provided  by  which  this  feeding  mechanism  can  be  easily  thrown  out  of  action,  so  as  to  allow 
the  weaving  of  the  ordinary  close-stitched  double-cloth  required  for  the  weaving  of  a  proper 
heading  at  the  beginning  and  ending  of  each  cut.  The  mechanism  is  also  arranged  to  permit  a 
quick  and  correct  changing  of  the  amount  of  pile  warp  to  be  delivered,  as  regulated  by  the  height 
of  pile  required  for  the  fabrics  woven,  by  substituting  a  smaller  or  larger  worm-wheel  upon  the 
axle  of  the  main  roll. 

Diagrams  Figs.  880  and  881  illustrate  this  mechanism. 

Fig.  880  is  a  side  elevation  of  the  rear  part  of  a  loom  or  attachment  to  a  common  cam- 
loom,  and  embodying  Mr.  Pearson's  inv^ention. 

Fig.  881  is  a  sectional  elevation,  showing  the  delivering  of  pile  warps  (from  two  beams)  and 


Fig.  880. 


Fig.  881. 


the  direction  of  the  running  off  of  the  ground  warps  (from  one  beam).  The  respective  parts  with 
the  letters  of  references  given  (the  same  for  both  Figs.)  will  in  a  great  measure  explain  the 
modus  operandi. 

A  represents  the  beam  for  the  ground-warps;  B  and  C,  the  beams  for  the  pile  warps ;  E  and 
//.the  guide-rollers;  F  and  6",  the  main  or  friction-rollers,  who.se  axes  are  mounted  in  open 
bearings  in  an  adjustable  bracket  N,  attached  to  and  mounted  upon  the  main  frame  of  the  loom. 

The  axis  of  the  lower  friction-roller  is  provided  at  one  end  with  a  worm-wheel  which  gears 
into  a  worm  P  on  one  end  of  a  horizontal  shaft,  which  is  driven  by  gear  wheels  R  and  6".  Upon 
the  opposite  ends  of  the  axes  of  the  friction-rolls  are  mounted  gear  wheels  V X,  which  gear  into 
each  other.   J  represents  the  harness  frames. 

An  examination  of  Fig.  881,  with  regard  to  the  direction  of  running  the  pile  warps  and 
ground  warps  of  the  fabric,  gives  us  as  follows : 

The  pile  warp-threads,  upon  the  beams  B  and  C,  are,  together,  carried  over  the  guide  roll  E, 
under  and  around  the  main  roll  F,  and  around  the  main  roll  G,  under  the  guide  roll  H,  and  over 
the  horizontal  yielding,  or  spring-supported  rods  /  contained  in  the  vertical  guides  K,  and  are 
thence  run  to  the  heddles.  The  ground  warp-threads  upon  beam  A  are  carried  over  supporting 
or  guide-rollers  a  b  to  the  harness-frames. 

At  the  beginning  of  the  description  of  this  invention  we  mentioned  that  a  part  of  the  claim 
was  based  upon  allowing  a  quick  changing  from  pile  weaving  to  a  w'eaving  of  regular  close- 


209 


stitched  double-cloth  used  as  headings  for  the  fabrics.  This  is  accomplished  by  shifting  lever  T 
to  the  right  {i.  e.,  towards  the  rear  of  the  loom),  thus  elevating  friction-roller  F  and  its  worm- 
wheel,  carrying  the  latter  out  of  contact  or  gear  with  the  worm  P,  whereby  the  revolution  of  the 
main  rollers  /^and  G  will  be  discontinued  and  the  feeding  of  pile  warp-threads  to  the  heddles 
will  be  stopped. 

Another  method  for  arranging  the  beams  for  pile  warps  and  ground  warps  in  the  loom  in 
weaving  double  plush  is  that  used  by  Mr.  R.  H.  Patton.  In  looms  of  his  construction  the  beam, 
carrying  the  ground  warp  is  situated  in  the  rear  part  of  the  frame,  as  built  in  addition  to  his 
regular  cam  loom  for  operating  the  harness.  The  beams  carrying  the  pile  warps  rest  in  the 
upper  middle  part  of  said  frame.  To  give  a  clearer  understanding  diagram  Fig.  882  has  been 
designed.  In  this  A  indicates  the  side  of  the  frame  previously  alluded  to,  B  the  beam  carrying 
the  ground  warp,  and  C  and  D  the  beams  for  both  sets  of  pile  warps.  In  the  present  style  of 
arranging  the  beams  for  the  pile  warp  and  guiding  those  warps  in  their  run  to  the  delivering 


Fig.  882. 


rollers  H  G,  and  from  there  to  the  respective  harness,  one  great  advantage  over  that  of  the  pre- 
viously shown  methods  will  be  readily  noticed,  i.  e.,  that  the  pile  warps  are  delivered  to  their 
respective  heddles  without  crossing  the  ground  system,  and  consequently  any  possible  chafing  is 
avoided.  The  ground  warp  for  the  upper  cloth  in  the  loom  passes  from  the  warp  beam  B  over 
stationary  guide-roller  E  towards  the  harness  frames;  this  set  of  threads  being  indicated  by  letter 
a.  The  other  set  of  ground  warps  required  for  the  lower  cloth  passes  from  beam  B  below  guide 
roll  Fand  from  there  direct  to  the  respective  harness  frames.  This  set  of  ground  or  body  warp 
has  been  indicated  by  the  letter  d.  The  two  sets  of  pile  warp,  one  from  beam  C  and  one  from 
beam  D,  are  guided  from  their  respective  beams  into  the  delivering  rollers  G  and  H.  The  lower 
roller  (//)  is  covered  with  a  fine  sand-paper,  while  the  one  above  is  covered  with  a  plush  fabric. 
After  leaving  the  delivering  rollers  one  set  of  the  pile  threads  is  passed  over  guide-roll  J  and 
below  guide-roller  L,  and  the  other  set  below  guide-roller  K.  Each  of  these  two  guide-rollers  is 
adjusted  to  a  lever  which  is  on  one  extreme  end  connected  with  the  loom  frame  and  on  the  oppo- 
site end  has  adjusted  a  spring  which  is  fastened  to  the  floor.    These  springs  will  greatly  assist  in 


210 


easing  up  the  "beating  home"  of  the  pile  warp.  The  let-ofif  of  the  pile  warp  is  regulated  by 
sproked  gears  adjustable  to  the  axis  of  the  delivering  roller and  gets  the  motion  from  the 
"take-up"  by  means  of  a  chain  belt.  The  present  method' of  delivering  pile  warps  allows  the 
harness  in  the  front  part  of  the  loom  to  be  arranged  for  an  extremely  high  pile,  i.  e.,  the  keeping 
of  the  two  sets  of  ground  warp — ground  cloth — as  far  apart  as  possible. 

The  bracket  for  holding  guide-roller  F  can  also  be  applied  to  the  centre  standard  of 
the  frame. 

Double  Pile  Fabrics  Made  with  a  Proportionally  Higher  Pile. 

In  some  double  pile  fabrics  a  greater  length  of  pile  may  be  required  than  the  one  which  can 
be  produced  on  a  common  loom.  To  overcome  this  difficulty  James,  Fred,  and  George  Priestley 
have  lately  invented  an  improvement  on  the  lay,  suitable  to  be  adopted  for  any  loom.  To  secure  a 
proportionally  higher  pile  their  patent  advises  the  cutting  away  of  a  large  portion  of  the  solid  part  of 
the  lay  and  inserting  small  steel  plates  set  upon  edge.  Each  plate  reaches  across  the  cut-out  part 
of  the  lay,  and  the  tops  of  all  the  steel  plates  are  in  a  line  and  carry  the  shuttle  when  in  operation. 
The  warp-threads  of  the  bottom  fabric  drop  into  the  spaces  between  the  steel  plates  and  are  well 
out  of  the  way  of  the  shuttle  when  the  top  or  upper  fabric  is  being  woven,  and  at  the  same  time 
the  pile-threads  are  kept  tight  and  at  full  stretch  between  the  two  fabrics. 


fTTTTTTTrTl  I  I  I  I  11  1 1  n  I  IILL 


Fig.  8S36. 


Fig.  883a.  Fig.  883^:. 

Diagram  Fig.  883a  illustrates  the  sectional  side-elevation  of  a  portion  of  the  lay  of  a  common 
loom  which  is  fitted  up  with  such  steel  plates. 

Fig.  883^5  represents  an  elevation  of  the  latter,  and  Fig.  883c  illustrates  a  plan  of  a  portion  of 
the  same. 

Figured  Double  Pile  Fabrics. 

Double  pile  fabrics  are  also  produced  by  means  of  the  Jacquard  machine.  Various  methods 
of  operation  as  well  as  different  makes  of  looms  exist  for  effecting  this  process. 

Diagrams  Figs.  884  to  891  illustrate  a  specimen  of  such  a  loom  and  the  method  of 
operation  for  weaving  figured  double  pile  fabrics,  which  was  invented  and  patented  by  T.  J. 
Shuttleworth. 

The  said  diagrams  illustrate  a  loom  for  weaving  figured  double  pile  fabrics  for  operating  the 
pile-threads  whereby  on  the  ri.se  of  the  Jacquard  lifter-board  any  desired  pile-thread  may  be  drawn 
down  from  the  upper  warp  into  the  lower  fabric  or  drawn  up  from  the  lower  warp  into  the  upper 
fabric,  so  as  to  produce  two  fabrics  having  a  corresponding  figure. 

In  diagrams  Figs.  884,  885  and  886  the  method  of  interlacing  the  two  fabrics  is  clearly 
demonstrated. 

Fig.  887  represents  a  loom  showing  sufficient  to  give  one  a  proper  understanding. 


211 


Figs.  888  and  889  are  diagrams  illustrating  the  operation  of  the  heddles  controlling  the 
ground  warp-threads. 

Figs.  890  and  891  illustrate  the  Qperation  of  the  heddles  controlling  the  pile  warp-threads. 
Each  of  the  fabrics  has  a  number  of  pile-warps  (indicated  x)  and  two  sets  of  ground  backing  threads 
(see  y),  the  number  of  pile-warps  depending  upon  the  number  of  colors  in  the  pattern  to  be 
produced. 

The  operation  of  weaving  the  fabric  will  be  understood  upon  reference  to  Figs.  884,  885  and 
886.  In  Fig.  884  the  threads  are  represented  as  they  appear  after  the  figuring  pile-warps  have 
been  drawn  from  the  upper  to  the  lower  and  the  lower  to  the  upper  fabric  and  bound  in  by  picks  i , 
all  of  the  upper  pile-warps  being  then  elevated  and  the  lower  pile-warps  depressed  and  the  ground 
or  backing  warps  of  each  fabric  crossed,  so  as  to  form  upper  and  lower  sheds  for  the  insertion  of 


Fig.  836.  Fig.  887. 


the  binder  picks  2,  which  are  thrown  in  and  beaten  up  and  the  ground-warps  of  each  fabric  then 
again  crossed,  as  shown  in  Fig.  885,  to  form  sheds  for  the  binder  picks  3,  and  after  throwing  in 
these  picks  the  ground-warps  of  each  fabric  are  again  crossed  to  form  upper  and  lower  sheds,  all 
of  the  upper  pile-warps  except  those  for  the  figure  being  lowered  to  the  level  of  the  bottom  of  the 
upper  shed,  and  all  of  the  lower  pile-warps  except  those  for  the  figure  being  raised  to  the  level  of 
the  top  of  the  lower  shed,  as  shown  in  Fig.  886. 

Such  of  the  upper  pile-warps  as  are  necessary  to  form  the  figure  are  drawn  down  into  the 
lower  shed;  and  such  of  the  lower  pile-warps  as  the  figure  demands  are  lifted  into  the  upper  shed, 
as  shown  in  Fig.  886,  preparatory  to  throwing  in  the  binder  picks  which  confine  said  figuring 
pile-threads  on  the  backs  of  the  fabric;  the  operations  being  then  repeated.  As  shown  in  the 
drawings,  accompanying  these  explanations,  such  of  the  pile-warps  as  are  necessary  to  form  the 


212 


figures  are  drawn  across  from  one  fabric  to  the  other  on  every  third  pick  ;  but,  if  desired,  only 
one  binder  pick  may  be  put  in  on  the  face  of  the  fabric  between  successive  tufts  of  the  pile.  The 
mechanism  for  effecting  the  movements  of  the  threads  whicJi  we  described,  is  shown  in  Fig.  887. 
The  heddles  which  control  the  ground  warp  threads  have  double  eyes,  as  shown  in  Figs.  888  and 
889.  The  threads  of  the  upper  fabric  pass  through  the  upper  eyes  of  the  heddles,  and  the 
threads  of  the  lower  fabric  through  the  lower  eyes,  these  eyes  being  so  related  and  the  lift  of  the 
heddles  being  such  as  to  effect  the  proper  formation  of  the  upper  and  lower  sheds.  Each  of  the 
pile-warps  is  controlled  by  a  harness  thread  connected  to  one  of  the  needles  of  the  Jacquard, 
(see  Figs.  890  and  891)  and  passing  through  the  usual  notched  eye  in  the  lifter  board,  above  the 
Jacquard  needles,  each  harness-thread  having  a  knot  above  the  lifter-board,  so  that  when  the 
thread  is  adjusted  by  the  needle  to  bring  this  knot  over  a  notch  of  the  board,  this  knot  and  that 


Fig.  890.  Fig.  891. 


portion  of  the  thread  in  which  it  is  formed  will  be  lifted  by  the  board  as  it  rises,  there  being  no 
lift  of  those  threads  the  knots  of  which  remain  in  line  with  the  eyes  of  the  lifter-board. 

The  movement  of  the  entire  body  of  warps,  except  those  necessary  to  form  the  figure,  is 
effected  by  comber-boards  g  and  h,  Figs.  890  and  891,  the  upper  of  which,  in  the  present  instance, 
acts  upon  knots  upon  the  harness-threads  of  the  pile-warps  of  the  lower  fabric,  while  the  lower 
board  acts  upon  knots  upon  the  harness-threads  of  the  pile-warps  of  the  upper  fabric,  and  these 
boards  are  caused  to  move  toward  and  apart  from  each  other,  so  that  on  the  rise  of  the  upper 
board,  g,  all  of  the  pile-warps  of  the  lower  fabric,  except  the  figure-warps,  will  be  lifted  from  the 
position  shown  in  Figs.  884  and  885  to  that  shown  in  Fig.  886,  the  descent  of  the  lower  board,  h, 
causing  the  corresponding  pile-warps  of  the  upper  fabric  to  drop  to  the  same  extent.  The 
comber-boards  remain  separated  while  the  binding-shots  i  are  being  thrown  in,  after  which  they 
are  drawn  together,  so  as  to  restore  the  warps  under  their  control  to  the  positions  shown  in  Figs, 
884  and  885. 

Such  of  the  pile- warps  as  are  desired  to  form  the  figure  are  by  means  of  the  Jacquard  brought 


213 

under  control  of  the  lifter-board,  which  has  a  njovemcnt  in  excess  of  that  imparted  to  the  comber- 
boards,  so  that  the  figuring  pile-warps  will  be  carried  up  or  down  into  the  opposite  fabric. 

The  figuring-threads  of  the  lower  pile-warp  are  simply  elevated  by  the  action  of  the  lifter- 
board  as  the  latter  rises  in  the  usual  manner;  but  it  is  necessary  to  transform  this  rising  move- 
ment of  the  lifter-board  into  a  downward  movement  of  the  figuring-threads  of  the  upper  pile- 
warp;  hence  each  of  the  harness-threads  of  the  upper  pile-warps  must  be  passed  around  a  pulley 
or  other  bearing  so  as  to  double  it  back  upon  itself,  pass  it  again  through  the  eye  of  the  lifter- 
board,  and  connect  it  at  the  lower  end  to  a  strip  m,  Figs.  890  and  891,  of  rubber  or  other  elastic 
material,  secured  to  the  guide-board  n  below  the  Jacquard  apparatus.  The  lifter-board  acts  upon 
a  knot  on  this  returned  portion  of  the  harness -thread,  so  that  the  lift  of  the  board  serves  to  stretch 
the  spring  and  permit  the  drop  of  the  weighted  portion  of  the  harness-thread  which  controls  the 


lA.lB.  M.^B.  3A.  3B.  U.  "iB.  5A.5B.  6A.6B.  TA.IB.  8A.8B. 

Fig.  892. 


warp-thread,  this  warp-thread  being  lifted  on  the  descent  of  the  board  by  reason  of  the  contraction 
of  the  spring  in,  which  exerts  a  force  considerably  in  excess  of  the  weight. 

The  lifter-board  of  the  Jacquard  is  operated  by  a  cam  on  a  shaft,  the  cam  acting  on  a  slide 
which  is  connected  by  a  rod  to  a  lever  connected  to  the  lifter-board  by  a  rod. 

The  comber-boards  are  operated  by  another  cam  on  the  shaft  mentioned  before,  this  cam 
acting  on  a  slide  which  is  connected  by  a  rod  to  a  lever,  and  by  another  rod  to  an  arm;  the  lever 
before  mentioned  being  connected  by  a  rod  to  the  upper  comber-board,  and  the  arm  also  previ- 
ously mentioned  is  connected  by  a  rod  to  the  lower  comber-board,  so  that  the  desired  movements 
of  both  comber-boards  towards  and  from  each  other  are  effected. 

The  principle  thus  far  explained  of  weaving  these  double  pile  fabrics  can  also  be  used  in 
connection  with  a  Jacquard  apparatus  in  which  griffe-bars  are  used  in  place  of  an  eyed  and  notched 
lifter-board,  and  hooks  are  used  instead  of  knots  in  the  harness. 


2U 


Figured  Double  Plush  Produced  upon  a  Jacquat^d  Machine  Containing  a  Stationary  and  a 
Raising  "Griffe,"  and  also  a  Lowering  {Falling)  ''Grate"  or  "  Rcster." 

Mr.  T.  Halton  has  lately  applied  for  a  patent  for  a  Jacquard  machine  for  weaving  "  Jigiired 
double  pile  fabrics"  which  is  very  simple  and  effective  in  its  method  of  construction.  This 
machine  resembles  to  a  certain  extent  a  double-lift  double-cylinder  Jacquard  machine  used  in 
weaving  damasks,  dress-goods,  etc.  This  new  Jacquard  machine  has  also  two  sets  of  griffe-bars 
(similar  to  the  double-lift  double-cylinder),  but  only  one  set  raises  while  the  other  remains 


r 

Fig.  893/?. 


I 


Fig.  893.^. 


Fig.  893 C 


stationary.  The  "  grate  "  or  "  rester  "  for  the  hooks  in  the  new  machine  is  arranged  to  lower 
simultaneously  when  the  previously  mentioned  griffe  raises,  and  again  raises  to  its  starting-point 
as  soon  as  the  griffe  lowers  to  its  point  of  starting.  The  cylinders  of  the  Jacquard  machine  for 
weaving  figured  double  pile  fabrics  are  operated  on  at  the  same  time,  while  the  cylinders  of  the 
Jacquard  machine,  known  as  "  double-lift  double-cylinders,"  are  operated  on  alternately. 

To  give  a  clearer  illustration  of  the  construction  of  the  machine,  Fig.  892  has  been  designed. 
It  represents  the  section  of  a  four-hundred  Jacquard  machine  for  weaving  figured  double  pile 
fabrics. 


215 


c 

I  ^ 

1    a.  I 

L 

d. 

in. 


At  the  point  indicated  by  A,  one  vertical  row  of  one  set  of  needles  is  shown  (E  —  needle 
board,  D  =  spring  box).  At  B  one  vertical  row  of  the  second  set  of  needles  is  shown  (C  = 
needle  board,  F  =  spring  box). 

a  represents  sections  of  stationary  griffe-bars  (shown  shaded) ;  i>  represents  sections  of 
raising  griffe-bars  (shown  in  black) ;  //  represents  sections  of  the  grate  or  rester  (for  holding  the 
hooks  in  the  required  position  and  also  for  guiding  the  latter  in  their  lowering,  if  not  called  for  by 
either  one  of  the  griffe-bars). 

Hooks  I  A  and  i  B  have  their  neck-cords  connected  to  the  same  leash.  (Also  2  A  and  2  B; 
3  A  and  3  i? ;  4  A  and  4  B,  etc.) 

Figs.  893  A,  B,  C,  D  and  E  illustrate 
the  modus  operandi  of  the  machine  and  its 
harness.  Two  hooks,  operating  the  same 
warp-threads,  are  used  for  illustrating  the 
principle.  Letters  of  reference  indicate 
like  parts  in  each  diagram. 

g-l  and  h-in  are  the  previously  men- 
tioned two  hooks;  r-/"the  needle  for  oper- 
ating the  hook  g-l ;  c-d  the  needle  for 
operating  the  hook  h-in ;  a  is  the  station- 
ary griffe-bar ;  b  is  the  raising  griffe-bar; 
l-n  and  m-n  are  the  neck-cords ;  /  is  the 
heddle  eye  ;  r  and  s  the  double  shed  re- 
quired ;  q  the  lingo,  and  0  the  last  woven 
part  of  the  fabric. 

Diagram  Fig.  893/i  shows  the  hooks 
at  rest;  or  in  a  position  similar  to  that  in 
Fig.  892  (the  complete  section  of  a  400- 
machine) ;  thus  the  warps  will  rest  in  the 
loom  in  the  position  shown  by  the  fall 
line  o-p-t,  or  in  the  centre. 

Diagrams  Fig.  893  B  and  C  illustrate 
the  raising  of  a  warp-thread  in  the  upper 
section  of  the  top  shed  (;').  (See  full  line 
o-p-t)  In  diagram  893-^  this  is  accom- 
plished by  punching  a  hole  in  the  cards 
for  needle  c,  and  none  in  the  other  card  at 
the  place  where  needle  e  strikes.  Conse- 
quently hook  h-m,  not  operated  on  by  its 
needle  (hole  in  card),  will  be  caught  by 
the  ascending  griffe  b,  and  in  turn  raise 
the  warp-threads  by  means  of  the  harness 
cord  in  the  upper  section  of  the  top  shed  (r).  (See  full  line  o-p-t.)  The  hook  g-l,  which  is 
thrown  backwards  by  reason  of  its  mate  needle  e  having  no  hole  cut  in  the  card,  is  thus  placed 
out  of  reach  of  the  stationary  griffe-bar  and  descends  with  the  lowering  of  the  rester  i  until  it 
reaches  the  base,  as  shown  in  the  present  diagram.  This,  consequently,  will  have  no  effect  upon 
the  warp-thread,  and  nothing  else  will  be  produced  but  the  slackening  of  the  corresponding 
neckcord  l-n,  as  represented  in  the  diagram. 

In  diagram  Fig.  893  C  the  same  effect  (as  in  Fig.  893.5)  for  the  warp-thread  (or  its  raising  into 
the  upper  section  of  the  top  shed  is  produced  by  having  two  holes  cut  for  both  needles  (for  needle  e 


Fig.  893/?. 


Fig.  893£". 


216 


in  the  card  of  the  other  set).  Cutting  a  hole  for  needle  e  will  leave  hook  g-l  in  its  vertical  posi- 
tion and  the  crook  of  the  hook  will  be  caught  by  the  stationary  griffe,  which  will  hold  it  during 
the, downward  movement  of  the  rester.  The  movement  of  hook  Ji-ni  and  its  result  upon  the 
corresponding  warp-threads  being  the  same  as  in  the  previously  explained  diagram,  the  only 
difference  between  adopting  either  plan  B  or  C,  is  the  lesser  amount  of  slackening  of  the  neck- 
cord  l-n  which  is  out  of  action  in  using  the  plan  as  illustrated  by  diagram  C. 

Diagram  893Z?  shows  the  warp-thread  in  the  lower  section  of  the  bottom  shed  s.  (See  full 
line  o-p-i)  This  movement  is  accomplished  by  cutting  no  hole  for  either  needle  in  its  correspond- 
ing place  m  the  card,  consequently  throwing  off  each  hook  from  either  griffe,  which  will  result 
in  the  lowering  of  both  hooks  by  means  of  rester  bars  /  and  k. 

Diagram  Fig.  893/:  shows  the  method  of  operation  necessaiy  if  a  warp-thread  is  required 
to  remain  in  the  centre,  thus  forming  the  bottom  of  the  upper  shed  r  and  the  top  of  the  lower  shed  s. 
In  this  case  no  hole  must  be  cut  in  the  card  for  needle  c,  and  a  hole  in  the  card  from  the  other  set 
for  needle  e  to  penetrate.  Hook  g-l  will  thus  remain  over  the  stationary  griffe-bar  {a)  while  the 
mate  hook  h-m  has  its  crook  thrown  out  of  reach  of  the  raising  griffe  b,  and  consequently  descends 
with  the  lowering  of  the  rester. 

TERRY  PILE  FABRICS 

In  which  the  Pile  is  Produced  During  Weaving  Without  the  Aid  of  Wires. 

Pile  fabrics  in  which  the  pile-threads  are  raised  without  the  aid  of  wires  are  fabrics  known  as 
"Turkish  toweling"  and  certain  kinds  of  scarfs  used  for  ornamentation  on  chairs,  bureaus,  etc. 
In  the  manufacture  of  these  fabrics  two  (or  more)  warp-beams  are  required — one  to  carry  the 
"pile- warp"  for  the  formation  of  the  loop  and  the  other  to  carry  the  "ground-warp"  for  forming 
the  body  of  the  fabric. 

Method  of  Operation  for  Producing  the  "Loop"  or  "Terry"  Pile. 

In  the  process  of  weaving  a  terry  fabric  the  upper  or  terry  series  of  warps  is  weighted  lighter 
than  the  lower  or  body  series,  for  the  purpose  of  allowing  the  loops  to  be  formed  on  the  surface 
by  the  lay  swinging  or  being  driven  fully  up  to  the  body  already  manufactured  after  several  or 
one  or  two  picks  of  the  filling  have  been  shot  from  the  shuttle  and  but  partially  beaten  up,  those 
picks  having  in  the  meantime  so  tightened  upon  the  upper  or  "terry"  warps  that  the  latter  are 
forced  with  them  by  the  full  beat  fully  up,  and  thereby  forming  the  pile  loops  or  terry. 


Fig.  894a.  Fig.  894A. 


The  three  (or  more)  picks  so  interwoven  will  have  slid  on  the  ground-warp,  which  remains 
tight  during  the  entire  process  of  weaving. 

To  illustrate  the  method  of  operation  more  clearly  Figs.  Sg^a  and  894^^  have  been  designed. 

In  Fig.  894^  the  pick,  indicated  by  0,  represents  the  edge  of  the  cloth.  At  the  first  stroke  of 
the  lay  the  first  pick,  i,  is  not  driven  home.  At  the  second  stroke  the  second  pick,  2,  is  driven 
against  the  first  pick,  i,  and  no  further;  but  the  third  pick,  3,  is  driven  home  towards  o.  This 
pick  will  in  turn  naturally  take  picks  i  and  2  along,  pressing  them  up  against  the  finished  edge 
of  the  cloth  ((?). 

The  pile  or  "terry"  warp  will  thus  form  the  loops  s,  as  shown  in  Fig.  894^. 


217 


Fig.  895^:  illustrates  the  drawing-in  draft  for  the  regular  terry  cloth.  Harness  i  and  2  are 
for  the  pile,  harness  3  and  4  for  the  ground-warp.  Fig.  8g^i>  represents  the  weave  or  harness- 
chain  for  the  above  illustrated  drawing-in  draft. 

To  give  a  more  perfect  understanding  of  the  method  of  operation  in  the  present  style  of  terry 
weaving,  Figs.  896,  897  and  898  are  designed,  illustrating  the  operation  of  a  terry  loom  patented 
by  Messrs.  Holt  &  Mellor.  '* 

Fig.  896  is  a  cross-sectional  elevation  of  part  of  a  terry  loom  necessary  for  properly  illus- 
trating the  explanations  to  follow. 

Fig.  897  is  a  plan-view  of  the  same. 


P  W  I  1.") 

Fig.  895*. 

Fig.  898  is  an  enlarged  cross-sectional  view  of  the  upper  part  of  the  lay  and  the  breastbeam. 

The  operation  is  as  follows :  When  the  cam  Z>  (see  Fig.  897)  does  not  raise  the  lever  £,  the 
frame  remains  lowered,  as  do  also  the  arms  L,  and  when  the  lay  swings  toward  the  breastbeam 
the  outer  ends  of  the  arms  L  come  in  contact  with  the  inner  ends  of  the  screws  N  (see  Figs.  896 
and  897),  whereby  the  arms  L  will  be  pushed  in  the  inverse  direction  of  the  movement  of  the 
lay — that  is,  in  the  direction  of  the  arrow  d' — thereby  swinging  backward  the  reed  and  pre- 
venting it  from  driving  the  last  pick  home — that  is,  preventing  the  reed  from  driving  the  last 
pick  against  the  finished  edge  of  the  cloth;  but  if  the  cam  D  raises  the  lever  £  the  frame  /^will 
be  moved  upward  and  the  arms  L  will  be  raised  so  that  their  shoulders  engage  with  the  face  of 


Fig.  896.  Fig.  897. 

the  lay,  and  the  free  ends  of  the  arms  L  will  be  raised  to  such  an  extent  that  they  will  pass  over 
the  beveled  ends  of  the  screws  N,  and  the  bary,  or  lower  part  of  the  reed,  will  not  be  pressed  in 
the  direction  of  the  arrow  i',  thus  permitting  the  reed  to  drive  the  last  pick  home,  as  represented 
in  diagram  Fig.  898. 

The  loom  can  also  be  so  constructed  as  to  drive  the  second,  third,  fourth,  fifth  or  sixth  pick 
home,  as  may  be  desired,  and  according  to  the  number  of  loops  desired  in  the  fabric.  The  length 
of  the  loops  is  adjusted  by  means  of  the  screws  N,  for  the  farther  the  screws  project  from  the 
breastbeam  the  greater  will  be  the  distance  that  the  bar  J  is  swung  back,  and  thus  the  greater 
will  be  the  distance  between  the  finished  edge  of  the  cloth  and  the  first  pick. 


Fig.  895a. 


218 


Diagrams  Figs.  899,  900,  901  and  902  illustrate  the  principle  of  construction  and  the  opera- 
tion of  a  loom  for  weaving  terry  fabrics  patented  by  N.  A.  Woodhead. 

Fig.  899  is  an  end  or  cross-sectional  elevation  of  the  loom  with  the  movable  journal-boxes 
and  crank-shaft  thrown  fully  back,  as  when  partially  beating  up  the  filling. 

Fig.  900  is  a  cross-sectional  elevation  of  it  without  the  gear-wheels,  showing  the  journal- 
boxes  and  crank-shaft  thrown  forward  and  the  lay  forced  fully  up. 

Fig.  901  is  a  top  view.  Fig.  902  is  a  detail  view  showing  one  of  the  journal  boxes  and  part 
of  its  supporting  lever,  its  adjusting  screw,  and  the  device  for  locking  the  lever  and  box  in  a 


Fig.  899. 


Fig.  900. 


forward  position  for  the  production  of  a  plain  fabric.  (Letters  indicating  the  different  parts  for 
reference  are  selected  to  corre.spond  in  all  four  diagrams.) 

The  method  of  operation  of  the  loom  thus  forming  the  terry  pile  is  as  follows  : 
The  crank-shaft  A  when  revolving  drives  to  and  fro  the  lay  H  by  means  of  the  rods  a,  com- 
municating with  the  cranks  b  l>,  and  thus  drives  the  picks  partially  up  at  each  revolution,  when  it 
is  thrown  back,  as  illustrated  in  Fig.  899.  In  order,  however,  to  produce  the  terry  loop  the 
entire  shaft  A  is,  after  two  picks,  thrown  forward  to  a  point  where,  when  the  cranks  /;  arrive  on  a 
horizontal  plane  toward  the  lay  H,  the  lay  will  be  caused  to  make  a  full  beat,  driving  the  picks 
full  up,  and  producing  the  terry  or  pile  loop. 


The  shaft  A,  when  it  is  desired  that  the  loop  shall  be  formed  at  every  third  pick,  is  arranged 
to  revolve  by  a  proper  adjustment  of  the  gearing  three  times  while  the  cam  shaft  N  revolves 
once.  When  the  cams  h  of  the  cam-shaft  N  are  in  any  position  other  than  an  upright  position, 
the  lower  arm  E'  is  at  rest,  being  borne  down  and  held  in  that  position  by  the  weight  e.  As  a 
natural  consequence,  by  reason  of  the  pivotal  bearing  at  g,  the  knee  of  the  arms  EE'  is  thrown 
forward,  while  the  journal  boxes  F  oi  the  shaft  A,  being  firmly  fixed  to  the  arms  EE',  are  thrown 
back,  and  the  shaft  A,  while  revolving  in  this  position,  produces  by  means  of  the  lay  but  a  partial 
beat  of  the  picks,  one  throw  of  the  shuttle  being  made  to  each  revolution  of  the  shaft  A.  When, 


219 


however,  the  cams  h  of  the  cam-shaft  iV,  by  the  revolution  of  the  shaft,  begin  to  assume  an 
upright  position,  pressing  against  the  lower  edge  of  the  arms  E'  as  shown  in  the  drawings,  the 
arms  E'  are  gradually  raised  until  they  assume  a  horizontal  position  and  thereby,  by  reason  of  the 
pivotal  bearing  g,  throw  the  boxes  E,  adjusted  to  the  extreme  upper  ends  of  the  arms  E  and 
containing  the  crank-shaft  A,  completely  forward.  Then  the  shaft,  revolving  to  the  proper  point, 
produces  a  full  beat  of  the  lay  and  makes  in  the  fabric  the  terry  or  pile  loop  at  the  desired 
interval. 

The  length  of  the  terry-loop  is  regulated  by  means  of  the  screw  /,  adjusted  to  the  journal 
boxes  E.  By  screwing  down  the  screw  the  terry-loop  is  shortened  by  the  shaft  A  being 
prevented  from  going  as  far  back  as  it  otherwise  would  by  reason  of  the  lower  end  of  the 
screw  coming  in  contact  with  the  loom-frame,  consequently  allowing  the  short  beats  of  the  picks, 
to  be  driven  more  nearly  full  up.  When  the  screw  /  is  screwed  up,  the  arms  E'  fall  fully  down 
when  released  from  the  cam  li  and  throw  the  shaft  A  full  back,  and  this  produces  an  extremely 
long  terry-loop.    By  this  means  a  terry-loop  of  any  desired  length  can  be  produced. 

When  it  is  desired  to  throw  the  terry  devices  out  of  operation  and  to  weave  a  plain  fabric, 
the  lever  S,  connecting  with  the  lug  as  shown  in  Fig.  902,  is  depressed,  the  lug  /  thereby 
engaging  the  movable  journal-box  F,  and,  preventing  the  backward  motion,  holds  it  firmly  in 
position  and  allows  of  the  lay  //beating  full  up  at  every  revolution  of  the  shaft  A. 


Fig.  903.  Fig.  904.  Fig.  905. 


Some  "  terry"  fabrics  require  a  combination  of  the  terry  pile  weaving  and  the  common  plain 
weaving ;  both  systems  of  weaving  to  exchange  alternately  (and  sometimes  more  frequently)  in 
one  length  of  the  fabric.  For  such  fabrics  the  loom  illu.strated  in  diagrams  Figs.  903,  904  and 
905  (as  is  claimed  by  its  inventor,  C.  Strobel),  is  of  special  advantage. 

Figs.  903  and  904  represent  vertical  sections  of  the  loom ;  the  parts  being  shown  in  different 
positions. 

Fig.  905  represents  a  vertical  section  of  the  loom  in  line  x  x  Fig.  903.  The  shedding, 
picking  and  take  up  motions  are  substantially  the  same  as  are  ordinarily  used  in  looms.  (The 
letters  of  reference  in  all  these  drawings  are  identical.) 

The  crank  and  cam  shafts  A  0'  are  geared  by  gear-wheels,  each  mounted  on  shafts  and 
meshing  together,  and  are  driven  in  the  usual  way.  While  the  rollers  M  are  in  the  bottoms  of 
the  slots  in  the  links  or  levers  C  the  lay  will  travel  forward  to  a  fixed  line,  this  being  the  cloth 
making  line  of  the  fabric.  The  roller  J  on  the  gear  /  at  each  revolution  of  the  latter,  if  the 
lever  H  is  not  engaged  by  the  hook  N,  presses  down  the  rear  end  of  the  lever  H,  causing  the 
forward  end  to  rise,  and  through  the  rod  G  and  the  arm  F  to  rock  the  shaft  D  until  the  rollers 
M  reach  the  bottoms  of  the  slots  of  the  links  C.  The  spring  P,  connected  with  the  arm  F  on 
the  rock-shaft  Z>,  keeps  the  rollers  Mm  the  upper  part  of  the  slots  of  the  links  (7  when  the  lever 
H  is  free  from  the  hook  N  and  is  not  acted  on  by  the  roller  J.  Wlien  the  rollers  are  in  this 
elevated  position,  the  lay  will  not  travel  as  far  forward  as  the  cloth-forming  line,  owing  to  the 
pivots  of  the  pitmen  B  having  been  given  a  lateral  movement  toward  the  lay,  thus  shortening  the 


220 


distance  between  the  crank-shaft  and  the  lay.  It  will  be  understood  that  during  these  short 
movements  of  the  lay  the  filling  will  be  only  partially  beaten  up.  The  number  of  short  or  partial 
beats  to  each  full  beat  may  be  varied  by  changing  the  gears  /  or  O.  The  present  illustrations 
show  the  loom  arranged  so  as  to  have  two  short  strokes  to  each  long  or  full  stroke  or  beat.  At 
each  third  jaick  the  lever  //"  will  be  depressed  by  the  roller  J  on  the  gear  /,  causing  it  to  bring 
the  arms  E  on  the  shaft  D  to  a  horizontal  position,  thus  giving  the  pivots  of  the  pitmen  B  a 
movement  away  from  the  lay,  and  increasing  the  distance  between  the  crank-shaft  and  the  lay. 
By  this  means  the  lay  in  its  next  forward  movement  will  be  moved  forward  to  the  cloth-making 
line,  beating  home  the  previously  inserted  two  picks  and  causing  the  terry  warp-threads  to  be 
looped  or  raised  from  the  body  of  the  cloth.  The  screws  K,  passing  through  the  side  projections 
of  links  C,  act  as  stops  for  the  roller-supporting  levers  E,  limiting  their  upward  movement,  thus 
regulating  the  length  of  the  terry-loops,  making  them  longer  or  shorter,  as  desired.  The  arms  F 
may  be  given  more  or  less  movement  by  shifting  the  pivots  or  screws,  by  which  the  connecting- 
rod  G  is  attached  to  the  arm  E  or  to  the  lever  H.    When  it  is  desired  to  do  plain  weaving,  the 


Fig.  906.  Fig.  908. 


hand-lever  5"  on  the  breastbeam  is  moved  to  the  right,  causing  the  lever  Q  to  act  on  the  hook  M, 
pressing  it  toward  the  lever  H,  when  it  will  hook  under  and  lock  the  lever  H  as  soon  as  the  lever 
is  raised  to  the  proper  height.  The  parts  will  remain  in  these  positions  until  the  hand-lever  6"  is 
thrown  to  the  left,  thus  unlocking  the  lever  H  from  the  hook  JV,  when  the  loom  will  be  in  con- 
dition for  terry-weaving,  all  these  changes  being  accomplished  without  stopping  the  loom. 

Before  closing  the  chapter  on  the  construction  of  the  various  looms  for  weaving  terry  fabrics 
we  refer  to  the  patent  of  T.  A.  Brady,  it  being  a  loom  for  weaving  terry-pile  fabrics  such  as 
Turkish  towelings,  etc.,  and  in  which  there  is  a  different  throw  or  beat  of  the  lathe,  due  to  the 
shifting  of  the  boxes  or  bearings  for  the  crank-shaft  of  the  loom.  The  shifting  of  the  boxes  car- 
rying the  crank-shaft  is  effected  by  means  of  a  grooved  cam. 

Figs.  906,  907  and  908  are  drawings  illustrating  the  principle  of  this  operation. 

Fig.  906  is  a  longitudinal  section  of  parts  of  a  loom  sufficient  to  illustrate  the  present  expla- 
nations. 


221 


Figs.  907  and  908  are  drawings  representing  enlarged  face  views  of  the  cam  by  which  the 
parts  are  operated  to  effect  the  shifting  of  the  sHdes  forming  the  bearings  for  the  crank- 
shaft, and  thus  regulating  the  forward  beat  (towards  the  last  woven  part  of  the  fabric)  of  the  lathe. 

The  cam  has  an  outer  flange,  Ji,  an  intermediate  segmental  flange,  /,  and  a  central  cam,  in,  the 
inner  portion  of  which  is  concentric  with  the  flange  i,  so  as  to  form  an  inner  groove,  n,  while  the 
outer  portion  of  the  cam  is  such  as  to  direct  the  roller  on  the  stud  of  an  arm  fastened  on  the 
loom  into  a  groove,  /,  formed  between  the  flange  i  and  the  outer  flange  h. 

Pivoted  toes  s  and  /  form  continuations  of  the  flange  these  toes  being  such  that  their  ends 
can  be  thrown  inward,  so  as  to  bear  upon  the  nose  of  the  cam  w,  or  can  be  thrown  outward,  so 
as  to  come  in  contact  with  the  outer  flange,  Ji,  of  the  cam.  The  toe  s  has  a  projecting  pin  passing 
through  a  segmental  slot,  ec,  in  the  disk  of  the  cam,  and  having  an  anti-friction  roller,  which  is 
acted  upon  by  a  spring,  tending  to  thrust  the  point  of  the  toe  outward  against  the  flange  h  of  the 
cam,  so  that,  supposing  the  cam  to  be  rotating  in  the  direction  of  the  arrow.  Fig.  907,  the  roller 
on  the  .stud  of  the  arm  would  be  under  the  influence  of  the  cam  and  inner  groove  «,  and  the 
arm  would  be  depressed  at  the  proper  intervals  to  effect  the  forward  movement  of  the  slides  and 
the  full  beat  of  the  lathe.  If  the  toe  s,  however,  is  adjusted  to  the  position  shown  in  Fig.  908, 
the  roller  will  traverse  the  outer  groov^e,  />,  of  the  cam,  and  will  be  free  from  the  influence  of  the 
cam  VI,  so  that  there  will  be  no  vibration  of  the  arm  and  no  movement  of  the  slides  and  crank- 
shaft ;  thus  the  lathe  will  move  forward  to  the  full-beat  point  on  each  stroke,  so  as  to  produce 
plain  or  unpiled  fabric.  The  toe  t  .serves  to  bridge  the  groove  n  when  the  roller  is  traversing  the 
outer  groove,/,  there  being  in  such  case  a  practically  unbroken  flange,  i,  so  as  to  insure  the 
proper  guidance  of  the  roller. 

In  order  to  permit  the  ready  adjustment  of  the  toe  s  to  the  position  shown  in  Fig.  908,  when 
such  adjustment  is  desired,  hang  to  one  of  the  frames  an  arm,  which  is  adapted  to  act  on  the 
roller,  carried  by  the  pin  of  the  toe  $,  this  arm  being  connected  by  a  suitable  cord  to  a  lever,  hung 
to  a  stud  on  the  breastbeam  of  the  loom,  so  as  to  be  within  easy  reach  of  the  attendant. 

For  figured  terry  fabrics  as  produced  on  harness-work,  the  Geo.  W.  Stafford  Manufacturing 
Company,  Providence,  R.  I.,  build  a  dobbie  specially  adapted  for  this  purpose.  This  dobbie 
requires  the  pegging  of  two  patterns  on  the  chain.  By  means  of  the  box-chain  we  can  arrange 
the  former  to  move  automatically  sideways  so  as  to  bring  the  different  patterns,  as  required  by  the 
fabric,  under  the  operation  of  the  hooks.  Thus  we  can  weave  terry  for  a  certain  distance,  and 
then  move  the  chain  for  ordinary  weaving.  For  very  heavy  work  the  "  Positive  Dobbie  "  must  be 
used,  which,  by  being  a  "  Doiible  Action"  is  very  easy  on  the  yarn. 

PILE  FABRICS  OF  A  SPECIAL  METHOD  OF  CONSTRUCTION. 

Smyrna  Carpets  and  Rugs. 

These  fabrics  are  made  on  a  loom  specially  built  for  their  manufacture  and  is  known  as  the 
"  Haiitelisse  Loom!' 

Diagram  Fig.  909  illustrates  a  section  of  this  loom.  In  this  loom  the  warp  passes  from  the 
beam  g  (upon  which  it  is  wrapped)  over  the  guiding  roller  f,  through  heddles  b,  c,  down  towards 
the  place  a,  where  the  weaver  is  situated  while  at  work.  The  heddles  being  in  a  horizontal 
position  are  fastened  to  two  rollers,  d  and  e.  The  latter  (by  reason  of  their  turning  to  the  right 
or  left)  operate  the  heddles,  which  in  turn  produce  the  opening  of  the  shed.  (The  loom,  it  will 
be  observed,  is  technically  a  "  vertical  loom.") 

The  pile  in  these  fabVics  is  produced  by  inserting,  separately,  loops  of  yarn  for  each  square 
on  the  designing  paper  of  the  respective  design.  This  method  of  producing  the  pile  in  a  fabric 
is  a  slow  and  troublesome  work,  still  fabrics  showing  many  varieties  of  colors  can  be  produced. 


222 


The  body  or  ground  structure  of  a  Smyrna  Carpet  or  Rug  is  made  with  either  strong 
woolen-linen  or  jute  threads,  and  the  pile  of  a  soft  woolen  yarn. 

Diagram  Fig.  910  illustrates  the  method  of  interlacing  (shown  in  the  front  view).  The 
vertical  threads  represent  the  warp,  and  the  horizontal  threads  the  necessary  ground  or  body 
picks.  At  a  is  shown  the  insertion  of  a  loop  (pile).  This  loop,  intertwined  with  the  two  warp- 
threads  of  the  ground  structure,  is  shown  separately  in  its  section  in  Fig.  911. 

The  body-filling  is  inserted  by  a  "block,"  as  shown  in  Fig.  912  (clearly  indicating  the  yarn 
as  wound  around  it,  and  leaving  this  block  at  the  place  marked  p).  The  beating  up  of  the  filling 
(ground  and  pile)  is  effected  by  means  of  a  comb  shown  in  Fig.  913.   In  this  method  of  operation 


Fic;.  909.  Fig.  910.  Fig.  911. 


the  weaver  inserts  two  body-picks ;  next,  he  places  one  row  of  pile  loops  over  the  entire  width  of 
the  fabric  (selecting  their  different  colors  in  accordance  with  the  design  which  is  to  be  produced). 
Then  he  again  inserts  two  body  picks  (by  turning  the  rollers  d  ox  c  for  each  pick)  to  be  followed 
by  the  next  row  of  loops  across  the  fabric  ;  and  selecting  the  colors  as  required  by  the  design. 

This  method  of  alternately  exchanging  two  body  picks  with  one  row  of  loops  is  repeated 
until  the  fabric  is  finished.  On  fabrics  of  a  sufficient  width  two  or  more  persons  can  operate  at 
once.  After  the  fabric  is  finished  upon  the  loom  it  is  "  sheared  "  so  as  to  produce  an  even  height 
of  the  pile. 

This  method  of  tying  each  individual  pile-thread  to  the  ground  structure  in  Smyrna  or 
Turkey  carpets  and  rugs  is  very  laborious,  and  hence  materially  increases  their  cost  of  manufacture. 


Y\G.  912.  Fig.  913. 


Various  methods  have  been  devised  to  imitate  these  beautiful  fabrics  in  a  way  that  would  give  a 
better  production  for  the  manufacturer  as  well  as  to  provide  a  mode  whereby  a  certain  proportion 
of  any  desired  number  of  carpets  of  the  same  jDattern  might  be  produced  in  one  operation.  This 
has  been  accomplished  quite  successfully  in  a  process  invented  by  Messrs.  Kohn  &  Watzlawik 
and  resembles  in  its  main  features  and  principles  the  explanations  given  by  us  in  a  former  chapter, 
pages  154  to  158,  on  the  manufacture  of  chenille  rugs  and  carpets,  and  pages  160  to  165,  on  the 
manufacture  of  chenille  fringe. 

Such  imitations  of  Turkey  carpets  are  produced  mechanically  from  patterns  composed  of 
colored  squares  that  clearly  indicate  the  design  and  arrangement  of  the  colored  squares  to  be 
reproduced  in  the  carpet.    In  the  carpet  each  transverse  range  of  squares  corresponds  to  a  pick 


223 


of  pile  filling,  and  each  pick  of  this  pile  filling  consists  of  a  woven  strip  (or  ribbon),  the  warp  of 
which  is  composed  of  wool  threads  of  the  required  colors.  These  filling  strips  have  edges  con- 
taining no  filling  (fringed)  and  which  are  intended  to  be  brushed  up  for  forming  the  pile  of  the 
carpet.  These  ribbons  or  filling  strips  also  contain  Jio  filling  in  their  centre,  for  two  reasons:  To 
form  the  imitation  of  the  knot  characterizing  the  real  Turkey  carpets,  and  again  to  reproduce  the 
(pile)  pattern  of  the  face  in  an  ordinary  woven  appearance  on  the  back.  These  explanations 
demonstrate  that  tivo  operations  are  necessary  in  producing  the  imitation.  First,  the  weaving  of 
the  fringed  strips  or  ribbons  composed  of  different  colored  threads,  according  to  the  transverse 


Fig.  914.  Fig.  915.  Fig.  916. 


ranges  of  the  colored  squares  in  the  pattern,  and,  second,  the  weaving  (or  setting)  of  these  strips 
in  a  common  warp  to  produce  the  pile  carpet. 

In  diagrams  Figs.  914  to  919  a  clear  illustration  of  the  entire  method  of  operation  is  given. 
Fig.  914  illustrates  a  carpet  pattern.  Fig.  915  shows  one  strip  (ribbon)  cut  from  a  chain  corre- 
sponding to  the  upper  transverse  range  (or  row)  of  the  pattern  Fig.  914.  Fig.  916  shows  a  like 
strip  from  which  the  centre  filling  has 'been  removed. 

Fig.  917  represents  the  back  of  the  carpet.  Fig.  918  illustrates  by  a  perspective  view  the 
method  of  operation  at  the  loom,  weaving  imitation  Turkey  carpets.  Fig.  919  is  a  section  cut  of 
the  shed  and  two  transverse  ranges  of  pile  picks  previously  inserted. 

We  will  next  give  a  short  description  of  the  methods  for  producing  the  filling  strips  or 
ribbons  necessary  for  the  construction  of  the  fabric. 


Fig.  918.  Fig.  919. 


:l^^lllll«i■4^i«|»il|«t«|»iifl3J|S^l!«^||i^■lM#  I 

i-'li*w;"C:«i^Ti«^f!pi^sSi« 


As  many  different  warps  for  weaving  the  chenille  strips  for  a  certain  carpet  are  necessary  as 
there  are  differently  figured  or  colored  transverse  ranges  (rows  of  squares)  in  the  pattern  of  the 
carpet,  each  warp  producing  any  desired  number  of  fringed  filling  or  pile  strips  of  the  same  trans- 
verse range  of  colors,  that  are  woven  into  suitable  warps  for  as  many  different  carpets  of  the  same 
pattern,  or  into  a  warp  for  one  carpet  as  many  times  as  the  transverse  range  of  colors  correspond- 
ing to  the  strip  or  ribbon  recurs  in  the  carpet.  Thus,  for  instance,  the  strip  or  ribbon  shown  in 
Fig.  916  corresponds  with  the  transverse  range  A'  of  the  pattern  shown  in  Fig.  914,  and,  sup- 
posing that  one  hundred  such  ribbons  are  produced  from  one  chain  of  warp,  they  may  be  used 
as  a  strip  (pile  pick)  in  one  hundred  carpets  for  one  transverse  range  of  colored  squares  in  the 


224 


pattern,  or  in  a  given  number  of  carpets  for  a  multiplicity  of  identical  transverse  ranges  of  squares 
in  the  pattern.  The  length  of  these  multicolored  warps  therefore  not  only  depends  on  the  number 
of  carpets  of  the  same  pattern,  but  also  on  the  number  of  times  the  same  transverse  range  of 
colors  is  repeated  in  this  pattern,  also  on  the  length  of  the  pile  of  the  carpet.  After  a  warp  is 
beamed,  it  is  bound  at  intervals  equal  to  twice  the  length  of  the  pile  to  be  formed  by  a  few  picks 
of  any  suitable  filling,  the  fabric  being  cut  centrally  of  the  fiUingless  portion  on  opposite  sides  of 
the  filling  to  form  the  fringes  for  the  pile.  The  width  of  these  multicolored-wool  chains,  or,  in 
other  words,  the  length  of  the  filling  strips  or  ribbons  to  be  produced  therefrom,  corresponds,  of 
course,  to  the  width  of  the  carpet  to  be  produced  thereby,  and  the  number  of  colored-wool 
threads  per  inch,  which  is  usually  from  four  to  five  threads,  according  to  the  quality  of  the  carpet. 
The  length  of  the  fringe  in  the  chenille  strips  is  regulated  by  interweaving  a  flat  bar  or  lath,  b, 
b' ,  Fig.  915,  of  a  certain  width. 

After  cutting  the  different  strips  apart  they  must  be  numbered.  To  prevent  the  displacement 
of  the  wool-yarn  filling,  these  are  firmly  sewed  to  the  warp  with  a  sewing-machine,  as  shown  by 
dotted  lines  x  x  in  Fig.  916,  and  finally  the  pack-thread  d,  between  the  wool-threads  c  and  c' ,  are 
drawn  out  to  leave  a  central  fillingless  portion  in  the  strip  or  ribbon,  as  shown  in  Fig.  916,  that 
imitates  in  the  completed  carpet  the  knots  of  the  true  Turkey  carpet,  and  reproduces  the  pattern 
on  the  back  of  such  carpet,  as  shown  in  Fig.  9 1 7.  By  means  of  these  strips  or  ribbons  the 
carpets  are  produced  as  follows,  referring  more  particularly  to  Figs.  918  and  919  :  A  ground-warp 
is  drawn  in  two  harness,  e  and  e' ,  of  an  ordinary  loom,  the  reed  f  of  which  contains  one  thread 
for  each  split.    (The  weave  used  for  interlacing  is  the  common  plain  ■*  weave.) 

In  beginning  a  carpet,  a  few  picks  of  wool-yarn  are  first  introduced  into  the  warp,  and  then 
the  first  strip  or  ribbon.  To  prevent  the  shrinking  of  these  strips  they  are  secured  at  their  ends 
to  a  rod  or  bar,  /,  triangular  in  cross-section,  which  is  introduced  into  the  chain  or  warp  in  such  a 
manner  that  the  rear  or  thicker  portion  will  be  elevated  above  the  forward  or  thinner  portion  of 
this  rod.  By  means  of  a  brush  the  fringe  at  the  front  edge  of  the  ribbon  is  brushed  up  or 
erected  to  form  the  pile.  The  po.sition  of  the  warp-threads  is  now  reversed,  the  reed  beaten  up 
against  the  rod  /,  and  the  latter  tilted  so  as  to  elevate  its  front  edge  above  the  rear  edge,  which 
will  enable  the  operator  to  brush  up  the  fringe  along  the  said  rear  edge  of  the  filling  strip  or 
ribbon,  and  when  this  has  been  effected  the  strip  or  ribbon  is  detached  from  the  rod  /',  and  the 
latter  is  withdrawn  from  the  warp. 

In  order  to  fill  out  the  warp  between  the  pile-threads  of  adjacent  strips  or  ribbons,  a  few 
picks  of  strong  wool  yarn  are  interpo.sed  and  a  new  strip  of  ribbon  introduced  as  a  filling  into 
the  warp  of  pack  thread  and  the  operation  repeated  until  the  carpet  is  completed,  when  again 
a  few  picks  of  strong  wool  yarn  are  woven  in  to  bind  the  edges.  The  carpet  so  produced 
is  then  finished  in  the  usual  manner  by  steaming,  beating,  brushing  and  shearing. 

Having  given  in  our  chapters  on  pile  fabrics  (page  149  to  224)  a  very  closely  detailed 
description  of  their  methods  of  construction,  both  theoretical  and  practical,  commencing  with  the 
simplest  structure  and  finishing  with  some  of  the  most  intricate  pile  structures  known,  we  feel 
confident  that  we  have  imparted  sufficient  details  to  enable  any  student  of  technical  designing  to 
master  the  principles  of  construction  of  any  given  pile  fabric.  These  chapters  also  illustrate  the 
extensive  use  of  pile  fabrics  for  floor  and  other  household  decorations,  in  addition  to  their  use 
for  clothing  purposes.  The  manufacture  of  these  fabrics  is  of  great  extent  and  importance.  In 
some  households  is  often  to  be  found  for  floor  decorations  a  less  durable  and  effective  fabric  known 
as  the  "  Ingrain  Carpet"  which  is  no  pile  structure  but  a  common  double-cloth  structure. 

In  my  treatise  on  "  The  Jacquard  Machine  analyzed  and  explained,  with  an  Appendix  on  the 
Preparation  of  Jacquard  Cards  and  Practical  Hints  to  Learners  of  Jacquard  Designing,"  the  structure 
of  the  Ingrain  Carpet  fabric  and  the  preparing  of  designs  for  the  same,  as  also  the  practical  part 
of  manufacturing,  and  the  tying-up  of  the  harness  and  operating  the  loom,  etc.,  are  fully  treated. 


225 


The  thorough  study  of  these  chapters  will  prove  very  profitable,  especially  the  chapters  on 
tying-up  Jacquard  harness  for  the  different  other  Jacquard  fabrics  such  as  damasks,  dress  goods, 
upholstery  fabrics,  gauze,  shawls,  etc. 

Two-Ply  Ingrain  Carpet. 

We  herewith  give  the  reader  a  brief  description  'of  the  method  of  construction  and  the 
principles  governing  the  manufacture  of  the  Two-ply  Ingrain  Carpet,  an  article  composed  of 
two  fabrics,  produced  on  the  regular  double-cloth  system.  These  two  fabrics  are  arranged  in  the 
loom  to  form  figures  by  a  simple  exchanging  of  positions  (see  Fig.  920).  A  great  variety  of 
colors  may  be  put  into  each  of  these  separate  cloths,  (I  and  II),  and  the  most  elaborate  designs 

Face  of  Warp. 

No.  I,  Single  Cloth,  "i^^^^^^^^^^^^^^^^ ^-  No.  II,  Single  Cloth. 

No.  II,  Single  Cloth.    ^^^^^^^^^^^^^^^^1     No.  I,  Single  Cloth. 

Warp  threads  a  and  />  for  cloth  number  I. 
Warp-threads  c  and  d  for  cloth  number  II. 
Fig.  920. 

may  be  used  for  exchanging  cloth  I  and  II.  On  every  part  of  the  carpet  where  these  two  fabrics 
do  not  exchange,  each  works  on  the  plain  weave.  The  exchanging  of  these  two  fabrics  binds 
both  into  one,  thus  forming  the  Ingrain  Carpet.  In  the  manufacture  of  this  carpet  four  sets  of 
warp-threads,  and  also  four  .sets  of  filling-threads  are  generally  employed;  but  if  occasionally  more 
or  less  should  be  used  in  warp  or  in  filling,  or  in  both,  in  the  .same  fabric,  the  principle  of  ex- 
changing is  still  observed.  If  employing  four  sets  in  warp  and  filling,  two  sets  of  each  are  used 
for  forming  the  figure,  the  other  two  sets  forming  the  ground.  Each  of  the  figure  threads  has  as 
its  mate  one  of  the  ground  threads.  In  the  common  effects  in  the  Ingrain  carpet,  (ground  up, 
figure  up,  or  one  or  the  other  shot  about  effects)  these  threads  are  so  arranged  that  when  a  figure 
thread  appears  upon  the  face  of  the  fabric,  its  mate  appears  upon  the  back,  and  when  the  figure 
thread  appears  upon  the  back  of  the  fabric,  the  corresponding  ground  thread  appears  upon  the 
face. 

Grounol  Tic^urt    wp     .    Jfiol  oieu-t  .SWl     SKol  atoul  .^ict 

*  ^  ,  ,  ^  ^  r-  ^ 

J  '   »       1  \-  ■«  1  „  <b  I  u.^ 

'*         >>  •  >  '»         'S  lo        It        11        li        11        *c  SI 

Fig.  921. 

Diagram  Fig.  92 1  shows  the  section  of  the  effect  commonly  used  in  ingrain  carpet. 

Suppose  the  filling-threads  for  the  figure  to  be: 
Red,  indicated  by  heavy  shaded  circles;  picks  2,  6,  10,  14,  18,  22,  26,  30. 
Black,  indicated  by  full  black  circles;  picks  4,  8,  12,  16,  20,  24,  28,  32. 

And  the  filling-threads  for  the  ground  to  be: 
White,  indicated  by  empty  circles;  picks  i,  5,  9,  13,  17.  21,  25,  29. 
Olive,  indicated  by  light  shaded  circles;  picks  3,  7,  1 1,  15,  19,  23,  27,  31. 

A  careful  examination  of  the  drawing  shows  that  the  white  threads  mate  with  the  red,  and 
the  black  threads  with  the  olive,  so  that  when  one  of  these  colors  shows  upon  the  face  the  mating 
color  will  show  upon  the  back,  and  zdcc  versa. 


226 


As  a  general  rule,  these  warp-threads  are  of  the  same  color  as  the  filling-threads;  hence, 
every  filling  pick  appearing  on  face  is  bound  by  a  warp-thread  of  the  same  color,  and  if  appearing 
on  back  by  the  other  color  of  the  same  system;  thus,  in  the  present  example,  the  white  filling  is 
covered  on  the  face  of  the  fabric  by  white  warp,  and  if  appearing  on  the  back  of  the  fabric  by 
olive  warp;  the  olive  filling  is  covered  by  olive  warp  on  the  face  of  the  fabric  and  by  white  warp 
on  the  back  of  the  fabric. 

The  red  filling  is  covered  by  its  red  warp  on  the  face  of  the  fabric  and  by  black  warp  on 
the  back  of  the  fabric ;  the  black  filling  being  covered  by  black  warp  on  the  face  of  the  fabric  and 
by  red  warp  on  the  back  of  the  fabric. 


/     //  /// 

. 

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.  ■  lOaa 

□■■■□□□□□□□□L ■■■■■■■■■ 

□■■■□□□□□□□OQ'   '  ■  G:rja 
■■■■■■■ 
□■■■■□□□□□□□Qi.  i  ■ 
■■■■■■unaannnGuL  'lj> 
■■■■■■□□□□□□□□□□□□□□■□□a 

■■■■■■■■"□□□□nDDJoannDBD 

■■■■■■■■■  ■  iGnnoDoaanDaDB 

■■■■■■■■■■  "'7  □□□□□□□□□□□□ 

■■■■■■■■■■■  junmnoaaaaDn 
■■■■■■■■■■■□□□□□□□□□□□□a 

Fig.  922. 


Fig.  923. 


In  the  diagram  Fig.  921  the  four  "standard  effects"  of  the  ingrain  carpets  are  illustrated  with 
32  picks,  allowing  8  picks  for  the  illustration  of  each  part. 

First  effect,  picks  i  to  8,  is  ground  up  (white  and  olive). 
Second  effect,  picks  9  to  16,  figure  up  (red  and  black). 

Third  effect,  picks  17  to  24,  is  first  effect  in  "shot  about"  (red  and  olive  up). 
Fourth  effect,  picks  25  to  32,  is  second  effect  in  "shot  about"  (white  and  black  up). 
Fig.  922  represents  a  small  portion  of  a  design  illustrating  the  three  principal  combinations 
required  in  the  manufacture  of  the  two-ply  ingrain  carpets.    /  =  figure  up ;  //  =  ground 
up;  III  =  effect,  technically  known  as  "  shot  about,"  and  derived  from  "  one  pick  figure  up,  one 
pick  ground  up  "  (in  the  design),  and  repeated. 

In  Fig.  923  a  detailed  description  or  analysis  of  the  interlacing  warp  and  filling  of  Fig.  922 
is  given.  In  the  same  ■  represents  figure  up,  n  represents .  ground  up,  produced  by  the  Jacquard 
machine;  a  represents  weave  for  ground,     represents  weave  for  figures,  produced  by  journals. 


CrovinoL  u,p.    JWalt-tPiTfaolf,  svd«      £.vde.       TuXji/trt  top-      3^ot-oiJrottt  e^^^otj. 


Fig.  924. 


In  Fig.  923  the  weaving  of  the  "  shot  about  "  effect  calls  for  two  picks  face  and  two  picks 

back.    An  examination  of  this  part  shows  that  the  warp-thread  represented  by  the  light  pick  5  § 

is  to  be  raised,  or  has  been  raised  in  the  adjoining  heavy  pick  ?  j ;  further,  we  find  the  two 

light  picks  separated  by  the  raising  of  a  different  warp-thread  in  each  pick,  which  is  also  effected 
between  the  two  heavy  picks  by  the  lowering  of  another  warp-thread.  If  these  mate  threads 
introduced  in  succession  should  be  required  to  show  side  by  side  (as  may  be  the  case  in  some 
special  effects)  either  on  the  face  or  the  back  of  the  fabric,  these  changes  must  be  indicated  on 
the  design  by  different  colors.  If  such  effects  are  to  be  introduced  when  using  the  common 
ingrain  Jacquard  machine,  the  needles  of  the  latter  must  be  operated  on  at  each  pick.  This 


227 


requires  twice  as  many  cards  as  are  used  in  designs  where  the  mate  threads  are  always  placed 
below  or  above  their  respective  corresponding  threads. 

In  diagram  Fig.  924  a  section  cut  of  an  ingrain  carpet,  also  containing  the  previously  ex- 
plained effects  of  "  mate  threads  side  by  side  on  face  of  the  fabric,"  is  shown  in  connection  with 
the  regular  effects,  "  ground-up,  figure-up,  and  both  combinations  of  shot  about." 

Diagram  Fig.  925  indicates  the  rotation  of  inserting  picks  in  each  ply  corresponding  to  the 
section  of  the  fabric  shown  in  Fig.  924. 

Ground-up.      Mate  threads  side  by  side.     Figure  up.       Shot  about. 


1st  effect.  2nd  effect.  ist  effect.  2nd  effect. 


Face-ply. 

I  1  3  1  5 

7 

9 

10 

13 

14 

19 

20  1  23  1  24 

26 

28 

30 

32 

34 

35 

37 

40  1 

Face-ply. 

Back- ply. 

2  1  4  1  6 

8 

II 

12 

15 

16 

17 

18  1  21  1  22 

25 

27 

29 

3^ 

33 

36 

38 

39  1 

Backply. 

Fig.  925.    Diagram  illustrating  the  rotation  of  inserting  the  picks  in  each  ply,  corresponding  to  section  of  two-ply 

ingrain  carpet.  Fig.  924. 

Other  effects  (combination  of  colors)  in  ingrain  carpets  are  produced  by  using  three  different 
colors  of  filling  in  each  of  the  two  single-cloth  fabrics,  and  also  by  throwing  them  singly  and  in  a 
definite  order  or  succession  in  each  ply.  For  example,  the  three  colors  for  the  one  cloth  are 
black,  blue  and  brown.  They  must  be  interwoven  as  follows  :  Black — blue,  brown — blue, 
black — blue,  brown — blue,  and  so  on. 

Suppose  the  colors  required  to  be  used  for  the  other  cloth  are  white,  olive  and  drab.  They 
must  be  interwoven  as  follows  :  White — olive,  drab — olive,  white — olive,  drab — olive,  etc. 


•,03,®3  0,#.,P3®3  07. 

fi^=Bfo«.a.    O  =vr^ttt 

Q  =3rovm,    (g)  -J)ra&. 
Fig.  926, 

As  the  loom  weaves  both  ply  at  the  same  time,  throwing  a  shot  in  each  ply  alternately,  the 
actual  order  of  weaving  in  the  present  example  would  be  as  follows:  ist  pick,  black ;  2d  pick, 
white;  3d  pick,  blue;  4th  pick,  olive ;  5th  pick,  brown;  6th  pick,  drab;  7th  pick,  blue;  8th  pick, 
oliVi\  and  so  on,  eight  picks  in  the  repeat  of  one  combination.  The  colors  printed  in  italics  repre- 
senting the  colors  of  one  ply,  and  the  colors  printed  in  roman  repre.sent  the  colors  of  the  other  ply. 

Fig.  926  illustrates  a  diagram  representing  the  previously  explained  method  of  placing  colors 
in  an  ingrain  carpet. 

Rules  for  Selecting  the  Squared  Designing  Paper  for  Ingrain. Carpets. 

In  selecting  the  squared  designing  paper  for  a  two-ply  ingrain  carpet,  always  observe  the  pro- 
portion existing  between  the  number  of  warp  and  filling-threads.  For  in.stance,  take  a  carpet  having 
1072  ends  warp  (536  ground  and  536  figure)  per  yard,  with  30  picks  per  inch  (i  pick  ground  and 
I  pick  figure,  or  15  pairs).  Then,  1072  -j-  36  =  29II  ends  of  warp  per  inch.  The  proportion  is 
as  29II  :  30;  or,  what  is  practically  the  same,  30  :  30,  showing  that  the  paper  must  be  equally 
divided,  and  8x8  the  squared  designing  paper  to  be  used. 

Again,  take  a  carpet  having  832  ends  warp  (416  ground  and  416  figure)  per  yard,  with  20 
picks  per  inch  (l  pick  ground  and  i  pick  figure,  or  10  pairs).  Then,  832  36  =  23^%,  and  the 
proportion  is  as  23 1  :  20,  or  as  7!?  :  61,  practically  8:7;  and  8x7  paper  may  be  used. 


Gauze  Fabrics. 


Principle  of  Construction. 

Gauze  fabrics  form  the  second  main  division  of  textile  fabrics,  and  are  characterized  by 
not  having  their  warp-threads  resting  parallel  near  each  other,  as  observed  in  previously  explained 
weaves  and  fabrics.  In  gauze  fabrics  they  arc  more  or  less  twisted  around  each  other,  forming 
through  the  different  ways  of  twisting  as  well  as  of  stopping  to  do  so,  different  designs. 

In  gauze  we  find  two  distinct  divisions  of  warp-threads:  The  regular  warp  called  the 
"  ground-warp,"  and  the  "  douping-warp,"  or  the  warp  used  for  twisting  around  the  former.  The 
"  douping-warp  "  threads  are  also  known  as  "  whip-threads." 

In  diagram  Fig.  927,  the  structure  of  a  "plain  gauze  fabric,"    ~~iry~~g'y  jl^ — ]\x 
is  shown.    Threads  indicated  by  a  and  shown  in  outlines  repre-      yli    ^    9Vl  ^ 
sent  the  "  ground-warp;"  whereas,  threads  marked  d  and  shown  in       ■  „  t.  „^  .  „ 
black  illustrate  the  "  whip-threads."  ^ 

Gauze  weaving  is  done  upon  a  system  wholly  apart  from  ^         Fig.  927, 

ordinar}'  and  pile  weaving.  For  the  reason  that  we  find  two  systems     ^^^j^        o^^v  '  ' 
of  warp-threads  in  the  gauze  fabrics  we  must  use  two  systems,  or 

sets  of  harness,  for  operating  the  warp  at  the  weaving.  One  set  of  the  harness  is  known  as 
the  "  Ground-Jianicss  set"  (which  we  will  indicate  in  our  following  illustrations  of  drawing-in  drafts 
for  gauze  weaving  by  .-^j  and  the  other  harness  set  is  technically  known  as  the  dojtpi)ig  harness  set" 
(which  we  will  indicate  through  the  lecture  by  B).  Before  proceeding  with  the  weaving  and  con- 
struction of  gauze  fabrics  we  will  give  an  explanation  of  the  douping-harness  set,  and  use  for 
explanation  the  arrangement  necessary  to  produce  fabric.  Fig.  927,  or  a  single  one-sided  doup. 

In  diagram  Fig.  928  a  specimen  of  a  complete  doup  is  shown.  In  the  .same  we 
find  a  heddle  similar  to  heddles  used  in  regular  weaving  (see  a,  b  in  diagram)  and 
which  is  known  in  the  present  kind  of  weaving  as  the  "  standard  heddle."  To  this 
standard  heddle  we  find  the  actual  doup  adjusted  (see  d,  c  in  diagram).  The  doup  con- 
sists of  a  smooth  and  strong  linen  or  silk  thread  which  is  fastened  to  the  lower  part 
of  a  common  harness  frame  (see  c  in  diagram),  passes  then  through  the  upper  opening  of 
the  standard  heddle  (see  e  in  diagram  Fig.  928),  returning  to  its  starting  point  by  passing 
through  the  eye  of  the  standard  heddle,  and  thus  connecting  the  upper  part  of  the  doup 
Fig.  92S.  ^j^^  standard  heddle.  Through  the  part  of  the  doup  extending  outside  of  the  upper 
part  of  the  standard  heddle  to  its  eye,  the  whip-thread  is  passed,  (see  black  dot  at  place  indicated 
by  d  in  diagram  928  representing  its  section).  Two  movements  of  the  doup  and  the  standard 
heddle  contain  the  entire  secret  of  gauze  weaving  When  the.se  are  clearly  understood  by  the 
student  well  up  in  designing  and  weaving  the  first  main  division  of  textile  fabrics,  the  method 
of  constructing  the  present  system  will  readily  explain  itself  to  him. 

In  gauze-weaving,  every  warp-thread  (ground  as  well  as  whip-thread)  must  be  drawn,  the 
.same  as  for  common  weaving,  in  the  ground  harness  set;  see  A,  Fig.  929.  Next,  the  whip-thread 
is  passed  below  the  ground-thread  through  the  doup  (see  B  in  Fig.  929,  illustrating  the  plan  of 
this  method  of  operation),  and  with  its  mate  (the  ground-thread),  through  one  dent  of  the  reed. 

Now  let  us  examine  the  first  movement  of  the  doup  and  its  standard  heddle,  and  also  with 
reference  to  the  ground  harness  set. 

Suppose  we  lift  the  harness  frame  containing  the  doup  adjusted  to  its  lower  shaft,  technically 
known  as  the  "  skeleton  harness,"  and  so  permit  the  doup  to  get  loose,  and  consequently  allow 
the  whip-thread  to  be  operated  on,  as  in  common  weaving,  by  means  of  the  ground  harness. 

(228) 


2?9 


.0. 

The  whip-thread  will  in  this  instance  return  to  its  regular  position  near  one  side  of  the  ground- 
warp,  as  regulated  by  the  drawing  in  of  the  warp  in  the  ground  harness  set  (to  the  right  hand 
side  in  the  present  example).  Suppose,  again,  we  raise  this  ground  harness  and  insert  a  pick  in 
the  shed  thus  formed.  During  this  process  the  doup  will  raise,  but  out  of  action,  behind  the 
reed.  Having  thus  inserted  pick  number  one  let  us  next  raise  the  standard  heddle  and  the 
skeleton  harness,  leaving  the  ground  harness  set  undisturbed.  This  movement  of  the  harness 
compels  the  whip-thread  to  raise,  close  to  the  eye  of  the  standard  heddle,  drawing  the  whip- 
thread  below  the  ground-thread  and  raising  the  former  on  the  opposite  side  of  the  ground  warp- 
thread,  as  done  in  the  previous  pick.  This  time  the  doup  will  be  in  position  parallel  to  the 
standard  heddle,  whereas  the  whip-thread  will  be  crossed  behind  the  reed,  between  the  sets  of 
douping  and  ground-harness.  This  crossing  and  raising  of  the  thread  to  full  height  of  shed  in 
such  a  short  distance  will  consequently  put  a  great  amount  of  tension  on  the  whip-thread  and 
therefore  necessitate  two  pohits  in  the  method  of  operation  which  we  will  mention  briefly. 
We  must  have  sufficient  space  between  both  sets  of  harness,  /.  the  heddle  of  the  ground 
harness  set  in  which  the  whip-thread  is  drawn  and  the  standard  heddle  and  doup-head  through 
which  this  whip-thread  is  passed  in  rotation.  We  also  must  arrange  in  rear  of  harness  set 
near  the  whip-roll  an  arrangement  technically  known  as  "  SlackencrT  All  the  whip-threads 
required  to  doup  are  pas.sed  over  this  slackener,  which  is  situated  above  the  regular  warp- 
line  after  leaving  the  "whip-roll"  of  the  loom  and  in  their  running  towards  the  ground 

harness  set. 

On  the  first  pick  previously  ex- 
plained, this  slackener  will  remain  undis- 
turbed, as  no  strain  is  required  on  the 
whip-thread,  whereas  on  the  second  pick 
explained,  this  slackener  is  automatically 
lowered  to  bring  the  whip-thread  nearly 
^  in  the  regular  warp  line  in  rear  of  har- 

ness. This  in  turn  allows  the  whip-thread  to  ease  up  in  front,  where  required,  to  cross  around 
the  ground  warp-thread  and  is  raised  a  short  distance  by  the  doup  on  the  opposite  side  of  the 
ground  warp-thread,  as  compared  with  the  first  pick.  This  slackener  for  gauze  weaving  is  also 
technically  known  as  "easer"  (by  reason  of  easing  the  whip-thread  when  douping).  We  will 
later  on  return  to  a  more  detailed  illustration  and  explanation  of  the  same  and  its  arrangement 
for  plain  as  well  as  figured  work. 

In  diagram  Fig.  930,  A  represents  the  whip-roll  of  the  loom,  b  the  section  of  the  .slackener, 
d  ground  heddle  for  ground  warp-thread,  c  ground  heddle  for  whip-thread, /"doup,  li-i  reed,  k 
last  end  of  woven  fabric.  Thus  the  line  shown  in  full  black,  a,  d,  k,  represents  the  ground-thread,  and 
line  in  full  black,  a,  b,  e,  k,  represents  the  whip-thread;  both  threads  "at  rest."  The  object  of  the 
present  illustration  is  to  explain  the  principle  of  the  slackener,  and  therefore  we  want  the  doup 
(^standard  and  skeleton  harness)  raised  (see  f  \.o  g)  as  represented  by  ^.  To  counteract  the  strain 
thus  put  on  the  whip-thread,  we  lower  at  the  same  time  the  slackener  (see  b  to  c),  giving  it 
position  c,  at  the  same  time  the  doup  is  raised  to  position  .g.  Hence  the  dotted  line  a,  c,  e,  g,  k 
represents  the  whip-thread  when  douping.  After  inserting  the  filling  by  means  of  shuttle  [s],  the 
shed  («)  closes  and  the  slackener  returns  automatically  to  its  point  of  starting,  b. 

In  Fig.  93 1  we  illustrate  a  corresponding  ground  plan  to  diagram  Fig.  930,  representing  a 
clear  idea  of  the  drawing  in  of  the  warp  and  threading  of  the  doup.  Outlined  warp-thread  «,  d,  k 
represents  ground  warp-thread,  thread  shown  in  full  black,  a,  e,  f,  k,  the  whip-thread,  d  and  e 
the  ground  harness  set,  /  the  passing  of  the  whip-thread  below  the  ground  warp-thread  and  li,  i 
the  reed. 

This  illustration  explains  the  threading  of  a  whip-thread  in  a  doup  situated  at  the  left  of  the 


Fig.  930. 


Fig.  931. 


230 


Fig.  932. 


ground  warp-thread,  but  the  student  will  readily  apply  the  same  arrangement  to  the  opposite 
kind  of  doup  by  simply  reversing  the  illustration. 

We  will  next  turn  our  attention  to  the  designing  of  various  gauze  fabrics,  and  commence 
with  the  plain  gauze,  as  illustrated  in  Fig.  927.  In  plain  gauze  all  the  warp-threads  work  in 
pairs — I  end  "whip"  and  i  end  "ground."  The  entire  warp  is  drawn  on  harness  similar  to  any 
other  warp.  Afterwards  the  whip-threads  are  passed  below  the  standard  heddles  and  threaded 
in  the  doup  (see  Fig.  929),  which  are  passed  through  the  standard  heddles  (see  Fig.  928). 

Fig.  932  represents  a  different  method  for  threading  the  doup,  occasion- 
ally used,  but  which  is  not  as  practical  as  the  arrangement  of  the  doup  illus- 
trated in  Fig.  928. 

In  diagram  Fig.  929  we  illustrate  the  plan  of  drawing-in  ground  harness 
and  threading  the  doup  for  producing  a  piece  of  plain  gauze,  as  shown  in 
Fig.  927- 

A  represents  the  set  of  ground-harness  (2-harness). 
B  represents  the  douping  set.    (Standard  and  skeleton.) 
Standard  warp-threads  are  illustrated  in  outline. 
Whip-thread  is  shown  in  full  black. 
We  find,  as  previously  mentioned,  every  warp-thread  threaded  first  in  the  ground  harness 
set;  next,  the  whip-threads  passed  below  the  ground-warp  and  threaded  to  the  doup.  Examining 
the  plan  of  the  fabric,  we  find  pick  i  requiring  the  whip  warp-thread  raised  in  its  proper  position 
as  placed  by  the  ground  harness  (to  the  right  of  the  ground  warp-thread);  therefore  this  pick 
will  require  the  raising  of  ground  harness  2  and  the  skeleton  harness,  hence  loosening  the  doup 
for  common  weaving.    Pick  2  calls  for  the  raising  of  the  whip-thread  on  the  opposite  position  of' 
pick  I  (to  the  left  side  of  the  ground  warp-threads);  therefore  we  must  doup  on  this  pick  by 
raising  only  the  .standard  and  the  skeleton  harness,  or,  in  the  present  example,  the  entire  douping 
set.    Pick  3  =  pick  i,  pick  4  =  pick  2,  thus  2  picks  repeat. 

In  the  present  example,  Fig.  927,  we  find  every  pair  of 
warp-threads  (i  ground  and  I  whip)  twist  in  the  same  direction 
•  Fig.  933.  and  having  the  crossing  in  the  corresponding  drawing-in  draft 
arranged  from  right  to  left.  This  crossing  can  also  be  arranged 
in  the  other  direction,  see  Fig.  933,  but  will,  in  the  present  fabric, 
be  of  no  advantage  to  its  general  appearance,  as  shown  in 
Fi<^-934.   Fig.  934. 

We  will  next  explain  and  illustrate  the  combination  of  both 
styles  of  crossing  in  the  same  fabric.    For  example  see  Fig.  935. 
the  drawing  in  of  ground  harness  and  arrangement  for  threading  doup :  i.st  pair,  whip-threads 


Fig. 


935- 


Fig.  936. 


-i 

fi 
0 

6 
-6 

oun 

<e 

1- 

i 

li, 

V! 

X 

3'!^  ■■ 

■» 

0 

■ 

X 

1^.'  . 

Harness-chain  for  plain 
guaze  fabric,  Figs.  927,  936. 


■i 

1 

i 

1 
i 

X 

X 

X 

X 

X 

1^'  . 

Fin.  938. 


Harness-chain  for  plain  gauze 
fabric,  Fig.  934. 


threaded  to  the  left-hand  side  of  ground  warp-thread;  2d  pair,  whip-thrtads  threaded  to  the 
right-hand  side  of  ground  warp-thread. 


231 


Fig.  936  is  the  plan  of  the  woven  fabric.  Harness  chain  is  similar  to  the  one  required  an(J 
explained  for  fabric  Fig.  927  and  illustrated  in  Fig.  937. 

The  drawing-iu  drafts,  Figs.  929,  933  and  935,  are  illustrated  for  2  ground  harness  and 
I  doup.  This  is  done  to  simplify  the  principle  of  construction.  The  same  way  that  we  can 
illustrate  the  common  plain  weave  drawn  in  2-harness  straight,  for  the  clear  understanding  of  the 
beginner  and  use  in  practice,  4,  6,  8,  etc.,  harnesses  as  required  and  guided  by  the  height  in 
texture  of  the  fabric  (number  of  warp-threads  per  inch),  we  may  also,  in  practice,  have  to  increase 
in  gauze-weaving  the  number  of  ground  harness,  or  the  number  of  doups  (standard  and  skeleton), 
or  both  at  the  same  time. 


Peculiar  Character  of  Gauze  Fabrics. 


Comparing  a  plain  gauze  fabric,  as  shown  in  Figs.  927,  934  or  936,  to  any  other  woven 
textile  fabric  results  in  not  finding  one  as  firm  in  its  method  of  interlacing  nor  as  light  in  texture. 

The  principle  of  gauze-weaving — the  twisting  of  warp-threads  around 
each  other  and  holding  at  the  same  time  the  filling  securely  fastened 
between — will  necessarily  result  in  producing  a  very  strong  fabric;  again, 
the  twisting  of  the  warp-threads  between  each  pick,  in  plain  gauze,  will  not 
allow  the  picks  to  come  close  together  in  the  fabric,  thus  resulting  in  the 
production  of  a  fabric  containing  large  perforations. 

In  diagram  Fig.  939  we  illustrate  the  plan  of  a  fabric  which  is  actually 
a  combination  of  plain  and  gauze  and  is  technically  known  as  leno,  or  half- 
gauze.  Pulling  out  from  the  present  fabric  sample  every  uneven  numbered 
pick  (i,  3,  5,  7)  will  result  in  transforming  the  half-gauze  in  the  fabric  to  a 
regular  plain  gauze  effect. 


Fig 


939- 


Combination  of  Plain  and  Gauze  Weaving,  Technically  Known  as  Fancy  Gauze. 

In  Fig.  940  a  combination  of  plain  weaving  and  gauze  is  shown  in  the  plan  of  a  fabric. 
An  analysis  of  this  plan  will  show  3  picks  interlacing  on  ordinary  weaving  to  exchange  with  one 


gauze  pick.  Thus  four  picks  in  repeat.  Drawing  in  of  ground  harness  and  the  threading  of 
the  doups  is  shown  in  Fig.  941.  A  represents  the  ground  harness  set,  (2  harness),  B  represents 
the  doup  (standard  harness  and  skeleton  harness). 

Fig.  942  illustrates  the  harness-chain  executed  correspondingly  to  Figs.  940  and  941,  and  so 
will  readily  explain  itself. 

In  Fig.  943  another  plan  of  a  gauze  fabric,  combining  the  common  plain  cloth  with  gauze 


* 

232 


structure,  is  shown.  Liberating  picks,  2,  3  and  8,  9,  of  the  present  structure  would  result  in 
changing  the  same  to  the  fabric  shown  in  its  plan  in  Fig.  940.  The  drawing  in  of  ground 
harness  set,  and  the  threading  of  doups  to  fabric,  Fig.  943,  is  shown  in  Fig.  944. 

In  Fig.  945  we  illustrate  the  plan  of  a  gauze  fabric  similar  to  the  one  shown  in  Fig.  943, 
the  only  difference  being  the  using,  alternately,  left  and  right-hand  threading  of  the  doups. 
Repeat:  four  warp-threads,  "two  pairs,"  and  6  picks.  Drawing  in  of  ground  harness  set 
and  the  threading  of  doups  for  producing  the  present  fabric  is  shown  in  Fig.  946.  In  the 
same  we  used  four-harness  for  ground-warp,  but  we  can  also  use  the  drafting  and  threading 
shown  in  Fig.  935,  which  only  calls  for  two  ground  harness  in  set  A  and  will  produce  the 
same  effect. 


Another  plan  for  producing  fancy  gauze-effects  is  found  in  arranging  the  whip-thread 
to  cross  over  two  or  three  ground  warp-threads;  for  example,  as  shown  in  the  plan  of  a  fancy 
gauze  fabric,  Fig.  947.  In  the  same  we  find  the  whip-thread,  after  interlacing  in  connection  with 
three  ground-threads  into  three  successive  picks,  on  regular  plain  cloth,  cross  oelow  the  mate 
(3)  ground-threads  for  forming  at  the  fourth  pick  gauze.  Repeat:  4  warp-threads,  (i  whip,  3 
ground),  one  set  drawn  in  one  dent,  4  picks,  3  ordinary  plam  weaving,  i  douping 

The  method  of  drawing  in  both  systems  of  warp  in  the  ground  harness  set,  and  the  method 
of  threading  the  whip-threads  in  the  doups  is  shown  arranged  for  three  successive  sets  ; corres- 
pondingly to  fabric  sample)  in  diagram  Fig.  948.  The  same  reason  which  compelled  us,  in  plain 
gauze,  to  draw  each  pair  of  threads  (i  ground,  I  whip)  in  one  dent,  leaving  as  many  dents 
empty  between  the  threading  of  each  pair  of  warp-threads  as  required  by  the  size  of  the 
perforations  in  the  fabric,  requires  in  the  present  example  of  fancy  gauze,  Figs.  947  and  948. 
to  thread  each  set  of  I  whip-thread  and  3  ground-threads  in  one  dent,  leaving  as  many 
dents  empty  between  the  threading  of  each  set  as  required  by  the  size  of  perforations  wanted 
in  the  fabric. 

Fig.  949  illustrates  the  harness-chain  necessary  for  weaving  the  present 
explained  fabric  of  fancy  gauze  (Fig.  947.) 

The  next  plan  for  constructing  fancy  gauze  fabrics  is  to  use  two 
doups  in  connection  with  four  or  more  ground  harness.    In  this  manner 
fabric  sample,  Fig.  950,  is  constructed.   Fig.  95 1  represents  the  drawing  in  of 
ground  harness  and  the  threading  of  the  doups.    In  the  same  we  find  two 
^'  sections  ground  harnesses  I  and  2,  with  doup  i', forming  section  i  ;  ground 

harnesses  3  and  4,  with  doup  2',  forming  section  2. 


i. 

■8 
»- 

-6 

0 

IS 

0 

?• 

^, 

J., 
3* 

VI 

«^ 

X 

% 

X 

X 

X 

3'!-  ■ 

X 

X 

X 

Z'^  • 

X 

<> 

1"^  • 

233 


In  drawing  in  and  threading  doups  we  arranged  two  repeats  for  each  section,  thus  8 
warp-threads  in  repeat  of  arrangement  of  pattern.  This  method  of  drawing  in  ground  harness 
as  well  as  threading  of  doups  will,  as  shown  in  the  fabric  sample,  allow  us  to  operate  each  section 


f^FiG.  951. 


1'  Ss^l  2  Stti 


1^ 

r/1 

St.  i.r 

1- 

ri 

01 

1 

!■ 

0 

•> 
■) 

1 

J- 

X 

X 

X 

•)!(• 

M 

X 

X 

5!(: 

1^' 

Fig.  950. 


Fig.  952. 


independent  of  the  other,  thus  forming,  by  arranging  the  douping  for  each  set  for  different 
picks,  additional  figures  in  the  fabric. 

Fig.  952  illustrates  the  harness-chain  for  fabric  and  drawing-in  draft,  just  explained. 


Fig.  954- 


\      Fig.  953. 


Fig.  956. 


Fig.  955. 


In  diagram  Fig.  953  the  plan  of  another  fancy  gauze  fabric,  produced  with  two  doups,  is 
shown.  Fig.  954  illustrates  the  method  of  drawing  in  the  ground-harness  and  the  threading  of 
the  doups,  which  in  the  present  example  is  a  right-handed  and  a  left-handed  doup  for  each  set. 


< 

S. 

4* 

^ 

c< 

*-> 

>- 

Ml 

Kfi 

CO 

X 

<> 

X 

•X- 

X 

K 

X 

X 

0 

?!<! 

X 

X 

«• 

•)!C- 

Fig.  957. 


Fig.  958. 


Four  ground-harness  are  used  in  connection  with  the  two  doups.  Ground-harness  i  and  2  (A) 
and  doup  i'  (/>)  equal  ist  set;  ground-harness  3  and  4  (A)  and  doup  2'  {B)  equal  2d  set. 

Fig.  955  illu-strates  another  fancy  gauze  fabric,  produced  with  two  sets  of  doups  and  upon  a 
general  arrangement  in  two  sections. 


234 


Fig.  956  shows  the  general  arrangement  for  drawing  in  ground-harness  set  as  well  as  the 
threading  of  the  doups.  Four  ground-harnesses  are  used  in  connection  with  the  two  doups. 
Ground-harness  land  2  {A)  and  doup  i' (.5)  equal  ist  set;  ground-harness  3  and  4  (yj)  and 
doup  2'  (B)  equal  2d  set. 

Fig.  957  illustrates  the  harness-chain  for  the  fabric  and  drawing-in  draft  just  explained. 


Fig.  960. 


■« 

i 

13 

Fig.  961. 


Fig.  958  illustrates  the  plan  of  another  fancy  gauze  fabric,  constructed  after  the  foregoing 
example,  using  only  warp  threads  i,  2,  5  and  6  from  the  latter  (955). 

Diagram  Fig.  959  illustrates  the  plan  of  another  fancy  gauze  fabric. 

Fig.  960  illustrates  the  corresponding  drawing  in  of  warp  in  ground-harness  and  the  thread- 
ing of  the  whip-threads  in  two  doups  (i'  and  2'), 


s  b  a 


b  a 


—    Fig.  962. 


Fig.  963. 


9- 

3 

•<i\ 

i 

i 
p- 

*i 

i 
S 

j.i 
</j 

Til 

J- 
^1 

j- 

w 

1 

a 

ill 

X 

« 

M 

11! 

*• 

»: 

III! 

^• 

V 

« 

II 

X 

■X- 

5'? 

lilt 

5jC- 

*• 

i 

■X 

ill 

Fig.  964. 


Fig.  961  shows  the  harness-chain  required  for  weaving  the  fabric  shown  in  Fig.  959. 

The  "two-section"  arrangement,  as  explained  and  illustrated,  can  be  extended  to  three,  four 
or  more  sections,  and  in  this  manner  giving  fancy  effects  to  an  unlimited  number  of  designs. 

A  further  step  in  producing  figured  gauze  is  the  combining  of  gauze  and  ordinary  weaving 
in  the  form  of  stripes.    After  using  a  certain  number  of  warp-threads,  drawn  in  its  own  separate 


235 


set  of  harness,  for  interlacing  with  the  filling  either  on  plain,  twill  or  satin,  or  in  a  combination  of 
all  three,  use  similar  effects  as  previously  illustrated  and  explained,  either  with  one,  two  or  more 
differently  working  doups,  left  or  right-hand  twisting,  or  all  the  effects  combined.  This  method 
of  combining  stripes  of  gauze  with  ordinary  woven  cloth  will  also  afford  great  scope  for  producing 
figured  effects  through  alternately  exchanging  both  systems  of  weaving  warp  and  filling  ways. 

Design  Fig.  962  illustrates  such  a  stripe  effect  in  a  fabric.  Fig.  963  shows  the  corresponding 
drawing-in  draft  and  threading  of  the  doups.    Warp-threads  indicated  by  a  (light)  are  the  ground- 


11  fifiii  nniiFniiiri& 


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■  ■■■■■  I  mil  I  ■■■■■  p .v'ji 

■  ■■■■■  ■  Mill  I  W\m,\'M%t 

■  ■■■■■  ■  ■■■■■  ■  iir-v^  ■■■■ 

■  ■■■■■  I  ■■■■■  ■  r:v!j  I  ■■■■ 

■  f  IMI  I  ■III!  9,\.m  I  ■■» 

■  ■■■■■  ■  ■■r:\  J  ■■■■■  I  am 

■  ■IMI  ■         I  mil  ■  ■■■■ 

■  MMi  i>.«.Ma  ■  ■■■■■  ■  ■■■■ 

■  ■■■■r.v         ■  ■■■■■  ■ 

■  ■■nv^«  ■■■■■  ■  ■■■■■  ■ 

■  ■  ■■■■■  ■  ■■■■■  I  ■■■■ 
J»  ■  ■■■■■  ■  ■■■■■  ■  ■■■■ 

,V  JIMI  ■  ■■■■■  I  ■■■■■  I  ■■■■ 

III  I  iiiii  I  liiii  ?  i  ii  I 

|ji.;.ij|ii?imiii  iff 


■9. 
•5. 
■  i, 

=  3: 


Fig.  965. 


Fig.  966. 


L     1.    1.  E. 


threads,  and  warp-threads  indicated  by  d  (shaded  in  vertical  direction)  are  the  whip-threads  for 
the  gauze;  warp-threads  indicated  by  c  (shaded  in  diagonal  direction)  are  the  threads  for  pro- 
ducing the  ordinary  cloth  (plain  weave  in  present  example).  The  drawing-in  draft  shows  three 
different  sets  of  harness  used. 

The  set  indicated  by  A  represents  the  ground-harness  set  for  the  gauze  part;  the  set  indicated 
by  B  represents  the  harness  for  raising  warp-threads  interlacing  in  the  ordinary  cloth;  the  set 
indicated  by  C  represents  the  douping  set  of  harness  for  producing  the  gauze  part. 

Fig.  964  represents  the  harness-chain  necessary  for  weaving  a  fabric  as  shown  in  Fig.  962. 

As  previously  mentioned,  figured  gauze  can  also  be  produced  by  using  two  whip-threads 
against  two  ground-threads,  thus  using  four  ground-harness  to  one  doup.  In  such  an  example 
all  four  threads  must  be  drawn  in  one  dent. 


Set  ;  2 


Fig.  967. 

Diagram  Fig.  965  illustrates  a  drawing-in  draft  arranged  in  this  manner,  and  Fig.  966  shows 
a  corresponding  fabric. 

The  interlacing  of  the  plain  for  the  ordinary  interwoven  part  of  the  fabric  can  in  this  example 
be  extended  to  any  figured  weave  up  to  i6-harness.  Four  independent  sets  of  doups  are  made 
use  of  and  so  the  douping  can  be  correspondingly  arranged  on  each  pick  at  will  for  each  indi- 
vidual doup. 

By  arranging  the  present  style  of  drawing  in  ground  harness  and  threading  of  doup  for  a 


236 


"sectional  repeat  effect"  (repeat  the  drawing  in  and  threading  of  doup  of  each  four  warp-threads 
two,  three  or  more  times  before  changing  to  the  next  four  warp  threads)  novel  effects  for  fancy 
gauze  fabrics  may  readily  be  obtained  (with  a  correspondingly  large  figure). 

Fig.  967  illustrates  the  drawing-in  draft  for  a 
figured  gauze  on  two  sets  (for  illustrating  previously 
mentioned  section  draws)  having  four  ground  harness 
and  one  doup  for  each  set  (nine  repeats  in  each  set). 
These  two  sets  are  also  separated  by  three  warp-threads 
arranged  for  ordinary  weaving,  the  centre  thread  of 
which  is  indicated  as  a  cord  (or  a  heavy  thread,  pre- 
ferably of  a  different  color). 

If  weaving  for  a  certain  number  of  picks  or- 
dinary cloth  (plain)  with  set  No.  i,  and  next  gauze 
with  set  No.  2,  changing  again  afterward,  thus  ar- 
ranging for  an  equal  number  of  picks,  set  No.  i  for 
gauze  and  No.  2  for  ordinary  cloth  (plain),  also 
separating  each  of  these  two  changes  by  a  few  picks 
ordinary  woven  cloth,  inserting  in  their  centre  a 
heavy  filling  (similar  to  cord   in  warp),  we  get  a 

T-m-m  m  ■  ■  ■  ■  Cord.  checker-board  effect  for  design   composed  of  ordinary  and  gauze 

weaving  as  shown  in  diagram  Fig.  968. 

In  reeding  the  warp  for  example  Fig.  967,  leave  one,  two  or  more 
2nd Biackener.     dcnts  empty  between  each  four  threads  (of  two  whip  and  two  ground); 

again,  when  reaching  the  three  ordinary  weaving  threads,  place 
the  cord  in  a  separate  dent  and  each  of  the  other  two  ordinary 
weaving  threads  in  the  dent  as  situated  on  each  side  and  which 
is  occupied  by  the  set  of  four  threads  for  gauze  weaving.  For 
example,  if  arranging  the  reeding  of  the  warp,  one  dent  taken 
to  alternate  with  one  dent  left  empty  all  over  the  regular  work,  we 
find  the  reeding  at  the  part  where  the  cord  comes  in  arranged  as 
follows : 

-<-^4 — o — 4 — o — 5  (4  +  i)  — I  (cord)  — 5  (4+1)  — o — 4 — o — 4.  m-y 


■■  ■  ■ 

■■■  ■  J 


■■■ 
■■■ 
■  ■ 


■  ■ 

■■■  ■  ~ 


i 


Fig.  969  illustrates  a  specimen  of  a  harness  chain  for  weaving 
the  present  example  of  fancy  gauze.  In  the  same  we  find  two  slack- 
eners  used. 

1st  slackener  \.o  lower  its  whip-threads  on  picks  8,  9,  10 — 14,  15, 
16 — 20,  21,  22-— 26,  27,  28. 

2nd  slackener  to  lower  its  whip-threads  on  picks  44,  45,  46 — 50, 
51,  52—56,  57,  58—62,  63,  64. 

In  the  beginning  of  our  chapter  on  gauze  we  gave  the  princi- 
ple of  a  slackener  or  easer.  We  would  only  state  now  that  for 
every  set  of  doups  which  operate  the  whip-threads  at  different 
picks  when  done  on  any  previous  set  of  doups  in  the  same  fabric, 
we  must  use  a  separate  slackener ;  thus  in  the  examples  explained 
as  constructed  on  two  sections,  we  must  use  two  slackeners.  This 
method  of  using  more  than  one  slackener  is  increased  in  practical  work,  when  required,  up  to 
three  but  seldom  to  four. 

Diagrams  Figs.  97013:  and  970;^  illustrate  figured  gauze  effects  as  produced  by  harness  work. 


Harness-chain  for  14-harness  ; 
72  picks. 

Fig.  969. 


237 


Gauze  Weaving  Mechanism  for  Open-Shed  Looms. 

Until  lately  gauze  fabrics,  as  thus  far  explained,  have  been  produced  only  upon  looms 
constructed  after  the  principle  known  as  the  "single-acting"  method,  which  is  characterized  by 


Fig.  97o«. 


leveling  the  entire  warp  at  every  pick,  and  at  this  leveling  point  cross  the  warps  so  as  to  produce 
the  twist.  It  will  be  proper  to  mention  that  this  single-acting  method  for  operating  the  warp- 
threads  only  allows  a  moderate  speed  which  at  the  present  time  is  insufficient  for  the  requirements 
of  a  loom ;  hence  every  manufacturer  of  this  class  of  fabrics  has  been  anxiously  awaiting  for 


Fig.  970(^. 


a  method  by  which  gauze  weaving  can  be  successfully  executed  upon  looms  built  after  the 
principle  known  as  the  double-action,  giving  an  increased  speed  at  which  the  loom  can  be 
operated.    This  gain  of  speed  is  owing  to  the  ability  of  the  double-acting  loom  to  .select  and 


238 


v/ithhold  certain  warp-threads  for  a  certain  number  of  succeeding  picks  of  the  shuttle,  as  the 
pattern  being  Avorked  may  demand. 

However,  the  construction  of  the  double-acting  loom  heretofore  employed  did  not  permit  of 
its  weaving  gauze,  because  of  the  inabiHty  of  the  loom  to  operate  a  warp-thread  so  as  to  raise  it 
for  one  pick  of  the  shuttle,  and  then  after  that  pick,  lower  it  and  raise  it  again  before  the  suc- 
ceeding pick. 

The  Geo.  W.  Stafford  Manufacturing  Co.,  Providence,  R.  I.,  are  now  building  a  Double- 
Action  Dobbie  which  overcomes  this  defect ;  hence  is  capable  of  weaving  gauze  with  the  character- 
istic high  speed  of  the  latter.  This  is  due  to  the  fact  that  the  double-acting  loom  is  adapted  to 
raise  a  warp  for  one  pick  of  the  shuttle,  and  then  after  that  pick  lower  and  raise  it  again  before 
the  succeeding  pick.  The  new  features  of  the  Dobbie,  as  thus  built  by  the  Stafford  Manufactur- 
ing Co.,  are  the  combining  of  the  ordinary  full  motions  of  the  recurrent  or  reciprocating  harnesses 
with  a  novel  and  peculiar  "  half-and-reiurn"  motion  of  others  of  the  harnesses  when  so  desired. 
To  gain  the    half-and-reUirn"  motion  they  use  an  extra  half-stroke  lifter  (knife),  which  has  half 


Fig.  971.  Fig.  971^. 


the  limit  of  traverse  that  the  ordinary  lifters  have.  The  half-stroke  lifter  has  suitable  jacks 
engaging  therewith,  which  are  jointed  in  the  common  manner  with  a  connecter  co-operating  with 
an  operating  lever. 

The  half-stroke  lifter  is  reciprocated  by  a  peculiar  half-motion  device.  A  second  "  half-and- 
return  "  motion  for  certain  other  harness  is  obtained  by  the  arrangement  of  a  pair  of  ordinary 
operating  levers  with  connections  to  a  single  harness  controlled  by  the  levers  working  simultane- 
ously and  oppositely  or  singly.  To  give  a  proper  understanding  of  the  subject  Figs.  971,  971a, 
971^,  97 If,  97 1 </ and  97 1 ^'  have  been  designed. 

Fig.  971  represents  a  rear  view  of  the  head  or  end  of  the  loom  containing  the  harness-operat- 
ing mechanism.  The  same  also  shows  the  full  and  half-stroke  lifters  as  at  their  midway  points 
of  travel,  and  the  co-acting  jacks  and  conjoined  parts  according  to  their  relative  positions. 

Fig.  g^ia  is  a  view  of  the  double-hooked  jack  detached. 

Figs,  gyib,  gyic,gyid  and  gyie  illustrate  four  successive  relative  positions  of  the  harness  and 
harness-operating  levers  as  they  occur  in  the  weaving  according  to  the  present  explained 
method  (plain  or  gauze). 


239 


The  parts  indicated  D  and  C  are  portions  of  harness-frames  provided  with  single-eyed 
heddles  carrying  the  warps  ;//  and  «,  respectively.  These  frames  are  connected  by  the  respective 
cordings  d'  and  c\  with  their  operating-levers  d  and  c,  the  former  co-acting  with  full  stroke  lifters 
and  the  latter  with  the  full  and  half-stroke  lifters. 

The  standard  frame  B  is  provided  with  a  doup  heddle,  through  which  passes  one  side  of  the 
looped  cord  or  doup  k,  the  ends  of  which  arc  attached  to  the  skeleton-harness  A.  Frame  B  is 
connected  with  lever  b  by  means  of  cording  b' ,  and  co-acts  with  full-stroke  lifters.  The  skeleton- 
harness  A  (shown  in  portion)  is  operated  by  the  half-motion  levers  a'  a^,  to  which  it  is  con- 
nected by  a  Y-shaped  connecting  strap  R,  both  forks  of  which  are  equal  and  connected,  one 
with  each  lever  a'  a^,  respectively,  and  its  stem  is  connected  with  the  skeleton  A.  The  harness- 
frames  B  and  D  make  full  straight-away  motions,  while  the  parts  A  and  C  make  half-and- 
return  motions,  and  are  also  capable  of  making  full  straight-away  motions.  These  parts  are 
thus  termed,  the  former  "/«//-w<?/w«  "  and  the  latter  "  half-and-retiirn-niotio7i"  harnesses. 

Warp-thread  indicated  by  ;/  is  the  standard  warp  and  warp-thread  vi  the  whip-thread. 


!■  n,.  971/. 

The  method  of  operation  for  producing  common  gauze  weaving  is  as  follows :  The  harness 
C,  carrying  the  standard  warp  n,  is  given  the  half-and-return-motion  in  order  to  carry  the  warp 
to  the  middle  lift,  where  the  descending  whip-thread  in  can  be  passed  under  warp  n,  which  then 
descends,  while  the  doup  /'  raises  warp  in  to  form  the  upper  part,  while  the  warp  ii  forms  the 
lower  part  of  the  shed  for  the  next  pick  of  the  shuttle. 

Referring  to  Fig.  971  ^suppose  this  position  is  the  first  position  before  starting  the  loom,  which 
may  be  supposed  to  have  been  previously  making  gauze  stitches,  and  which  came  to  a  rest,  while 
the  warps  were  partly  turned  on  themselves  for  the  next  twist.  In  this  position  all  the  harnesses 
A,  B,  C,  D,  are  low  and  the  whip-thread  and  standard-thread,  m  and  n,  are  leveled  and  crossed 
one  above  the  other,  before  being  twisted  in  the  formation  of  the  succeeding  gauze  stitch.  The 
levers  a'  b  c  d  m  this  first  position  are  all  in  line  and  the  branches  of  the  forked  connections  are 
both  taut.  Position  of  Fig.  97 1^^  is  produced  by  the  levers  a'  and  d  moving  to  the  outer  limit  on 
full-stroke  lifters  and  the  levers  b  c  remaining  at  rest.  This  serves  to  raise  harness  A  and  D 
from  lowest  to  highest  limit.  By  this  shedding  movement  the  crossed  warps  have  been  tightly 
twisted  on  themselves,  and  the  shuttle  here  makes  a  pick  through  the  shed  and  interweaves  the 
filling  between  the  twisted  warps.  Position  Fig.  97 1^^  is  obtained  by  levers  a'  and  moving  oppo- 
sitely on  full  motions — one  on  a  lifter  and  the  other  by  a  retracting-spring,  and  thereby  giving 
their  skeleton-shaft  A  a  half-and-return  motion;  also,  by  lever  b  moving  outwardly  on  a  full-stroke 
lifter,  and  accordingly  moving  the  standard  harness  B  from  low  to  high  limit;  also,  by  lever  e 


240 


co-acting  with  the  half-stroke  Hfter  and  imparting  a  half-and-return  motion  to  its  frame  C\  also, 
by  the  lever  d  moving  inwardly  a  full  motion  by  means  of  a  retracting-spring,  and  imparting  a  like 
motion  to  its  upper  warp-frame,  D,  which  moves  accordingly  from  high  to  low  limit.  During  this 
change  of  position  the  warps  have  been  crossed  and  twisted  on  them.selves,  forming  a  gauze  stitch, 
and  then  the  shuttle  picks  and  lays  the  filling.  The  next  and  fourth  position  of  Fig.  97 1^'  is  ar- 
rived at  by  levers  <f  and  a'  remaining  at  rest,  while  and  are  moved  in  by  virtue  of  their  respec- 
tive retracting-springs,  and  c  is  carried  out  on  a  full  motion  by  virtue  of  its  jack  co-acting  with  a 
full-stroke  lifter.  These  movements  have  caused  the  doup-frame  and  harnesses  A  and  B  to 
descend  from  high  to  low  limit,  frame  C  to  rise  from  low  to  high  limit,  and  frame  D  to  remain  at 
rest  at  low  limit.  In  this  change  of  position  the  warps  have  not  been  twisted,  but  merely  crossed 
side  by  side,  as  in  plain  weaving,  and  in  this  position  of  Fig.  971^  the  shuttle  picks  and  interweaves 
the  filling.  This  position  now  changes  the  pos  tion  of  the  upper  and  under  warps  (standard  and 
warp-threads)  reversely  relative  to  the  filling. 

From  the  position  of  Fig.  97 1^"  the  changes  may  be  made,  according  to  the  pattern  desired, 
into  a  series  of  succeeding  similar  positions,  and  thus  make  more  plain  weaving-stitches,  or  it  may 
be  changed  back  to  the  second  position  of  Fig.  97 1^:  and  repeat  the  described  gauze  pattern. 

In  Fig.  971/ we  show  the  (upright  lever)  double  action  dobbie  as  built  by  the  Geo.  W. 
Stafford  Manufacturing  Company,  to  which  the  present  explained  mode  of  weaving  gauze  fabrics 
applies. 

Jacquard  Gauze. 

In  gauze  fabrics  constructed  upon  the  Jacquard  loom,  in  which  it  is  desired  to  produce  large 
and  elaborate  designs  by  the  aid  of  figuring  gauze  and  ordinary  weaving,  it  will  be  necessary  to 
arrange  a  slackener  for  every  whip-thread. 


FiG-  975-    Fig.  976.  Fig.  979.    Fig.  980. 


[In  my  treatise  on  "The  Jacquard  Machine,  Analyzed  and  Explained,"  etc.,  a  chapter  is 
entirely  devoted  to  the  method  of  operation  in  tying  up  looms  for  these  fabrics  as  well  as  the 
preparing  of  designs  for  the  latter  fabrics.] 

We  will  next  explain  the  method  of  operation  and  adjustment  of  slackeners  in  Jacquard 
fabrics  composed  of  threads  working  in  pairs  (one  whip-thread  douping  with  one  ground-thread). 


241 


In  such  fabrics  every  whip-thread  must  be  threaded  three  times;  first  in  a  heddle  in  rear  of  the 
regular  harness,  technically  known  as  the  "rear  heddle"  or  "rear  harness."  These  heddles  have 
eyes  l}{  inches  high  and  are  fastened  from  \%  to  1%  inches  lower  than  the  heddles  of  the 


Fig.  9S1. 


ground-harness  and  the  doup.  This  rear  harness  is  generally  placed  at  a  distance  of  8  to  I O 
inches  from  the  ground-harness.  Each  rear  heddle  is  connected  by  means  of  a  harness-cord  for 
operating  the  corresponding  standard  heddle  of  the  doup  at  the  place  where  the  latter  joins  the 
neck-cords  of  the  Jacquard  machine  (thus  both  harness-cords  to  one  hook),  and  consequently  the 


Fig.  9S2. 


rear  heddle  will  lift  at  the  same  time  when  raising  the  standard,  and  thus  the  whip-thread  is 
"slackened"  from  the  rear  when  required  to  twist  around  the  ground-warp  when  douping. 

After  the  whip-thread  is  drawn  in  the  rear  heddle,  it  is  next  drawn  in  its  respective  heddle  of 
the  ground-harness,  from  where  it  is  threaded  to  the  doup. 


242 


In  diagram  Fig.  972  a  plan  of  the  entire  procedure  as  thus  far  explained  is  given. 

In  diagrams  Figs.  973  and  974  are  shown  the  ground  plans  of  threading  the  previously  ex- 
plained Jacquard  gauze.  Fig.  973  represents  the  threading  of  the  whip-thread  in  a  doup  situated 
at  the  left-hand  side  of  the  ground-thread  (pair).  Fig.  974  illustrates  a  respective  threading  of  the 
whip-thread  to  a  doup  situated  at  the  right-hand  side  of  the  ground-thread  (pair).  Both  positions 
of  doups  to  their  respective  ground  heddle  are  mentioned  as  considered  by  the  weaver  standing  at 
work  in  front  of  the  loom.    Letters  of  reference  are  selected  correspondingly:  R=  rear-harness; 

=  ground-harness;  heddle  for  ground-warp;  c  =  heddle  for  whip  thread ;  /=  passing  of 
the  whip-threads  below  ground-warp;  Z>  =  doup-harness ; /=  doup.  Whip-threads  are  shown 
in  full  black,  ground-threads  are  shown  outlined. 

Fig.  975  shows  the  corresponding  crossing  as  produced  in  the  fabric  by  using  the  arrange- 
ment illustrated  in  diagram  Fig  973. 

Fig.  976  shows  the  corresponding  crossing  as  produced  in  the  fabric  by  using  the  arrange- 
ment illustrated  in  diagram  Fig.  974. 


Fig.  983.  I'lG.  9S4. 


Diagrams  Figs.  977  and  978  illustrate  the  ground  plans  of  using  two  whip-threads  for 
douping  against  two  ground-threads.  Tlie  following  letters  of  reference  are  selected  correspond- 
ingly: =  rear  harness ;  G"  =  ground-harness;  Z>  =  doup-harness;  /=  passing  of  the  whip- 
threads  below  ground-threads;  /  =  doup.  Threads  a  and  b  in  Fig.  977  =  ground  warp-threads; 
threads  c  and  d  in  Fig.  977  =  whip-threads.  In  diagram  Fig.  978  the  ground-threads  are  indi- 
cated by  letters  c  and  d  and  the  whip-threads  by  letters  a  and  b. 

Diagrams  Figs.  979  and  980  show  the  corresponding  crossings  as  produced  in  the  fabric  by 
the  respective  threadings  of  whip  and  ground-warp,  illustrated  in  diagrams  Figs.  977  and  978. 

Fig.  977  illustrates  the  threading  of  the  whip-threads  to  a  doup  situated  at  the  left-hand  side 
of  the  ground-threads.  Fig.  978  illustrates  the  threading  of  the  whip-threads  to  a  doup  situated 
at  the  right  hand  side  of  the  ground-threads. 

Figs.  981  and  982  illustrate  two  examples  of  Jacquard  <jauze  produced  upon  principles  pre- 
viously explained. 

Substitutes  for  the  regular  doups  have  lately  been  patented  by  C.  A.  Littlefield,  consisting  of 
a  peculiar  combination  of  metallic  half-heddles. 


243 


Diagrams  Figs.  983,  984,  985,  986  and  987  illustrate  his  invention. 

Fig.  983  is  a  front  view  of  portions  of  a  set  of  heddle-frame  bars  with  the  invention  applied. 

Fig.  984  illustrates  a  vertical  section  of  the  bars  of  the  heddle  frame,  and  showing  the  posi- 
tion of  the  yarns  before  the  crossing  takes  place. 

Fig.  985  is  a  similar  view  showing  the  half-heddles  after  the  crossing  takes  place. 

Figs.  986  and  987  illustrate  a  modified  form  of  needle,  which  for  some  fabrics  are  preferable. 

The  present  method  of  cross-weaving  requires  three  common  harness-frames  for  each  set  of 
doups.  The  middle  frame  is  supplied  with  a  specially-shaped  half-heddle  or  needle  formed  of 
properly  twisted  wire  or  stamped  from  sheet  metal.  When  the  needle  or  half-heddle  is  made  of 
wire,  the  latter  is  twisted  to  form  an  eye  at  the  top  end,  through  which  passes  the  thread  or 
threads  required  to  produce  the  desired  effect  in  the  pattern  woven.  Below  the  twist  which  forms 
the  eye  the  wires  are  separated  in  such  a  manner  as  to  form  a  continuous  slot  or  loop  from  near 
the  eye  to  a  point  at  or  near  the  lower  end,  where  the  half-heddle  is  formed  with  an  eye  or  loop 
adapted  to  receive  the  bar  upon  which  the  half-heddle  is  strung.  A  single  bar  only  is  used  for 
the  support  of  this  half-heddle.  Through  the  long  slot  or  loop  are  passed  other  loop  wires, 
forming  half-heddles,  there  being  two  of  this  description  to  each  one  of  the  first  named.  These 


Fig.  985.  Fig.  986.  Fig.  987. 


wires  are  secured,  one  on  the  right  the  other  on  the  left,  to  the  two  outside  heddle-frames  at  the 
top,  being  strung  on  the  ordinary  cross-bars  of  the  harness-frames,  the  latter  passing  through 
suitably-sized  loops  at  the  top  ends  of  the  looped  wires. 

To  produce  the  desired  pattern,  the  thread  which  is  to  be  twisted  or  crossed  about  its  adjacent 
thread  must  be  drawn  through  the  eye  at  the  top  of  the  lower  half-heddle,  and  the  thread  or 
threads  about  which  it  is  to  cross  are  to  be  drawn  in  between  the  two  upper  loops  or  half-heddles, 
and  in  line  with  the  thread  passing  through  the  lower  heddle-eye.  When  the  harnesses  are  at 
rest,  the  warp-line  is  established  so  as  to  bring  the  yarn  passing  through  the  lower  heddle-eye  to 
a  position  from  which  it  can  be  drawn  up  at  the  forming  of  the  shed  upon  the  desired  side  of  the 
yarn  about  which  it  is  to  be  turned  or  twisted.  The  crossing  is  effected  by  alternately  operating 
the  heddle-frames  to  which  the  upper  half-heddle  or  looped  wires  are  secured,  the  shed  being 
formed  by  lifting  the  harness  or  shaft  to  the  right  or  left  of  the  frame  to  which  the  half-heddles  or 
needles  are  secured  at  the  bottom.  The  upper  looped  wire  not  lifted  slides  easily  down  the 
long  slot  or  loop  in  the  lower  half-heddle,  the  latter  and  the  upper  half-heddle  to  which  the  lifting 
power  is  applied  being  drawn  into  line,  thus  forming  a  guide  for  deflecting  the  thread  about  which 
the  crossing  or  tie  is  formed  to  the  desired  side  of  the  needle  or  lower  half-heddle. 


244 


Cross-Weaving  for  Chenille  Fabrics. 

A  method  of  cross-weaving  other  than  the  one  derived  by  the  douping  arrangement  is 
largely  practised  in  the  manufacture  of  low-grade  Chenille  as  used  for  rugs,  mosquito-netting  and 
similar  fabrics. 

In  weaving  these  fabrics  the  ground-harness  set  and  the  douping  set  of  harness  are  substi- 
tuted by  using  two  horizontal  wooden  slats  (shafts)  of  a  sufficient  strength,  which  have  in  a 
vertical  position  metal  heddles  (harness  plates  or  needles)  inserted,  pointing  towards  each  other. 
These  harness  plates  are  made  of  thin  pieces  of  metal,  each  formed  with  an  eye  through  it  for 
the  warp-thread  (r  in  Fig.  gS8a)  and  each  beveled  at  its  end  near  the  eye,  as  shown  at  (/,  in  the 
same  diagram,  to  form  an  angle  to  bring  the  passing  points  as  near  together  as  possible. 

The  eyes  ^  are  formed  by  making  an  orifice  through  the  harness-plates  and  bending  the 
stock  on  each  side  of  the  orifice  in  opposite  directions,  so  as  to  permit  the  warp-threads  to  pass  in 
a  straight  line  through  the  eye,  and  so  that  there  will  be  but  little  friction  of  the  warp  in  the  eyes. 

In  Fig.  988/?  a  front  elevation  of  those  parts  of  a  loom  essential  to  a  clear  understanding 
of  the  method  of  operation  for  these  fabrics,  is  shown.  (Warpbeam,  lay  and  shuttle-movement 
are  omitted.) 


Fic.  gSSrt.  Fig.  988*.  Fig.  988c. 


Diagram  Fig.  gSSr  illustrates  a  transverse  sectional  view.  Letters  for  indicating  the  different 
parts  in  the  diagrams  are  selected  to  correspond. 

Diagram  Figs.  988«,  9881^,  988<:-,  illustrate  and  explain  the  loom  for  cross- weaving  as  patented 
by  Messrs.  G.  Oldham  and  VVm.  Dixon. 

The  frame  shown  is  composed  of  the  two  side  pieces,  base,  and  top  cross-piece,  on  the  under 
surface  of  which  latter  are  attached  brackets  for  the  roller,  over  which  the  cords  or  straps  pass, 
to  the  ends  of  which  cords  or  straps  the  heddle  shafts  are  attached.  They  are  guided  at  each  end 
by  staples  passing  around  the  upright  rods  /i  //,  and  are  adapted  to  be  alternately  reciprocated 
by  the  levers  i  i,  pivoted  to  the  base,  and  connected  to  the  heddles  by  the  connecting-rods  /'  k. 
The  upright  rods  at  each  end  of  the  heddle-shafts  are  connected  together  at  their  upper  and  lower 
ends  by  plates  or  cross-pieces  /  /,  and  these  plates  or  cross-pieces  are  centrally  pivoted  to  the 
horizontal  supports  or  arms,  forming  in  this  instance  a  part  of  the  upright  plates  which  are 
secured  to  the  inner  surface  of  the  side  pieces  of  the  main  frame.  In  a  cross-brace,  o,  is  journaled 
the  horizontal  shaft  p,  contiguous  to  one  of  the  plates  /,  which  shaft  is  formed  with  opposite  cams 
at  its  ends,  so  that  the  shaft  when  revolved  will  cause  the  cams  to  act  alternately  against  the  ends 
of  the  plate  /  and  vibrate  it,  and  through  it  and  the  rods  h  h  and  other  plates,  /,  reciprocate  the 
heddle-shafts  f  f  laterally  and  horizontally  at  the  same  time  they  are  reciprocated  vertically, 


245 


which  cause  the  harness-plates  to  cross  the  warp-threads  r  r  over  the  filling-threads  and  to  twist 
them  together  or  cross  them  between  the  filling-threads. 

The  cam-shaft  p  is  revolved  intermittently  by  the  ratchet-wheel  s,  secured  to  one  end  of  the 
shaft,  and  the  pawl  s' ,  pivoted  to  the  plate  s^,  which  is  pivoted  at  one  end  upon  the  shaft  /  near 
the  ratchet-wheel  s,  and  connected  at  its  other  end  to  the  plate  /,  attached  to  the  front  heddle- 
shaft,  so  the  up  and  down  movement  of  the  heddle  vibrates  the  plate  and  causes  the  pawl  to 
turn  the  shaft  /  at  each  upward  movement  of  the  heddle.  The  plate  is  connected  to  the  plate 
/,  in  this  instance,  by  the  pin  /'  entering  a  slot,  t',  made  in  the  plate  /,  to  accommodate  the 
lateral  movement  of  the  heddle. 

Another  loom  for  weaving  this  chenille  as  used  for  rugs  and  curtains  has  lately  been  invented 
by  Messrs.  H.  &  C.  Topham.  Their  improved  method  of  operation  is  shown  in  diagrams  Figs. 
g2>ga  and  gSgb  and  990^?,  990^5  and  990^.  (Letters  of  reference  for  each  diagram  are  selected  to 
correspond.)  Diagram  Fig.  989^  represents  the  end  view  of  a  loom,  clearly  showing  its 
improvements.    Fig.  989;^  is  a  longitudinal  .section  in  the  line  i — 2,  Fig.  989^. 

Figs.  990a,  ggob  and  990^  are  perspective  diagrams  (as  used  in  the  illustrations  of  their  inven- 
tion), showing  the  prongs  carrying  the  warp-threads  in  their  different  positions. 


Fig.  989a.  Fig.  9896. 


Referring  to  letters  of  reference:  A  A  are  the  side  frames  of  the  loom,  B  is  the  main  shaft 
and  C  the  crank-shaft,  D  is  the  lathe,  a  is  the  breastbeam  and  b  the  cloth-roller,  E  is  the  warp- 
beam,  e  the  warp-threads. 

On  the  two  upright  extensions  F  oi  the  side  frames  is  a  rock-shaft,  G,  extending  from  one 
side  of  the  loom  to  the  other.  This  rock-shaft  carries  two  arms,  g  g,  having  at  their  outer  ends  a 
comb  //,  provided  with  downwardly  projecting  prongs  h,  which  have  eyes,  /,  at  their  outer  ends, 
through  which  pass  one  set  of  warp-threads,  e.  Situated  below  the  rock-shaft  before  mentioned, 
but  having  its  bearings  in  the  same  upright  extensions  F  F,  is  a  rock-shaft,  having  two  arms./y, 
which  carry  a  comb,  K,  the  prongs  k  of  which  project  upward.  These  prongs  are  provided  with 
eyes,  /,  through  which  the  remaining  warp-threads  pass.  Rock-shafts  G  and  J  are  connected  in 
such  a  manner  that  when  the  comb  H  is  raised  the  comb  K  is  lowered,  and  vice  versa. 

Rock-shaft  G  derives  its  motion  from  main  shaft  B,  as  clearly  shown  in  diagrams  Figs.  989a 
and  g'^gb.  To  regulate  the  movement  of  the  comb  H  the  crank  g  is  slotted  and  carries  a  crank- 
pin,  u,  adapted  to  be  adjustably  secured  therein,  so  that  the  rod  g"^  can  be  adjusted  either  on  the 
crank  g  or  arm  g' . 

The  lower  rock-shaft  y  has  also  an  independent  sidewise  movement,  so  that  the  prongs  of  the 
comb  K  \\\\\  have  a  sidewise  motion  as  well  as  the  vertical  motion.  Motion  is  given  to  the  shaft 
/by  a  cam,  5,  driven  from  the  main  shaft.  When  the  prongs  of  the  combs  are  parted  the  side- 
wise  movement  of  the  lower  comb  and  its  shaft  takes  place 


246 


The  operation  is  as  follows,  reference  being  made  to  Figs.  990^,  990*^  and  990^:,  as  showing 
the  prongs  carrying  the  warp-threads  in  the  different  extreme  positions  during  weaving.  The 
eyes  in  the  ends  of  the  prongs  of  the  combs  are  threaded  with  the  warp-threads  c,  and  the  filling 
is  thrown  across,  as  shown  in  Fig.  990^2,  while  the  combs  are  in  the  position  shown  in  that  figure. 
The  combs  are  then  parted,  as  shown  in  Fig.  ggob,  which  will  tie  in  the  filling  previously  inserted. 
Another  pick  is  then  made,  as  shown  in  Fig.  990/^,  after  which  a  sidewise  movement  is  given  to 
the  lower  comb,  which  causes  the  warp-threads  to  twist  around  each  other  when  the  combs  come 


Fig.  990a  Fig.  9906.  Fig.  990^:. 

together,  as  shown  in  Fig.  990^.  The  filling  is  then  pressed  towards  the  woven  part  of  the  fabric 
and  another  pick  is  made,  throwing  another  filling  across. 

Cross-weaving  as  Used  for  the  Manufacture  of  Filtering-bags. 

Another  kind  of  fabrics  (similar  to  those  previously  mentioned),  which  contain  the  cross- 
weaving  for  their  principle  of  construction,  are  those  open-mesh  seamless  fabrics  that  are  used  for 
filtering-bags  for  saccharine  liquids,  etc. 

Diagrams  Figs.  991,  992  and  993  are  given  to  illustrate  the  method  of  operation  for  produ- 
cing these  fabrics,  as  patented  by  B.  Muench. 


Fig.  991.  Fig.  992. 


Fig.  991  is  the  top  view  of  part  of  a  loom,  showing  the  fixed  and  reciprocating  frames;  one 
of  them  has  upwardly  projecting  needles  and  the  other  downwardly  projecting  needles. 

Figs.  992  and  993  are  cross-sectional  views  of  the  harness  part  of  the  loom,  showing  the 
warps  in  their  different  positions.  Letters  indicating  the  different  parts  in  the  diagrams  are  used 
with  reference  to  the  following  explanations  as  to  construction  of  these  fabrics. 

The  operation  is  as  follows:  Two  sets  of  warps,  op  and  71,  are  used,  one  set,  0  p,  being 
used  to  form  the  bottom  of  the  seamless  fabric  in  the  loom  and  the  set  m  71  to  form  the  top  of 
the  fabric;  the  same  filling  being  used  for  both  sets  of  warps.  The  warps  o  are  passed  through 
the  eyes  c  of  the  front  row  of  fixed  needles,  C,  which  project  downward.  The  warps  n  are  passed 


247 


through  the  eyes  c'  of  the  rear  row  of  fixed  needles  C ,  which  project  upward.  The  warps  p  are 
passed  through  the  eyes /  of  the  needles  F  in  the  front  vertically-movable  frame  D,  said  needles 
F  projecting  upward,  and  the  warps  are  passed  through  the  eyes  f  of  the  needles  F'  in  the 
rear  vertically-reciprocating  frame  D',  said  needles  projecting  downward.  The  warps  o  and  p, 
which  are  passed  through  the  eyes  of  the  needles  of  the  front  fixed  and  vertically-reciprocating 
bar  and  frame,  are  the  series  for  making  the  bottom  of  the  seamless  fabric,  and  the  warps  m  and  n, 
which  are  passed  through  the  eyes  of  the  needles  in  the  rear  fixed  and  vertically-reciprocating 
bar  and  frame,  are  the  series  for  making  the  top  of  the  seamless  fabric.  As  shown  in  Fig.  992, 
the  warps  tn,  n  and  p  are  raised  and  the  warps  o  lowered.  The  shuttle  W  \s  thrown  through  the 
space  between  the  warps  when  those  warps  are  in  the  positions  shown  in  Fig.  992,  and  when  the 
shuttle  has  passed,  the  filling  rests  on  top  of  and  across  the  warps  o.  After  the  shuttle  has  thus 
been  thrown,  the  warps  o  and  /  are  crossed  by  the  lowering  of  the  frames  D  and  D' ,  and  thus  the 
filling  is  held  by  warps  o  and  p  which  form  the  bottom  of  the  seamless  fabric.  When  the  warps 
are  in  the  position  shown  in  Fig.  993  (and  the  shuttle  thrown),  the  frames  D  and  D'  then  raised, 
the  warps  m  and  n  are  crossed,  and  the  filling  is  held  by  warps  m  and  n,  forming  the  top  of  the 
seamless  fabric,  and  so  on. 


Fig.  993. 


In  order  to  hold  warps  and  filling  in  the  position  in  relation  to  each  other  in  the  fabric,  it  is 
necessary  that  the  warps  be  twisted  after  each  shot.  This  twisting  is  obtained  by  reciprocating 
the  frames  E  and  E'  laterally,  for  as  each  series  of  warps  has  part  of  its  warps  passed  through 
laterally-reciprocating  needles  it  is  evident  that  by  the  shifting  of  the  reciprocating  needles  such 
warps  will  become  twisted.  The  frame  D  is  shifted  every  time  the  filling  has  been  shot  between 
the  warps  o  and  p,  and  the  frame  D'  is  shifted  every  time  the  filling  has  been  shot  between  the 
warps  m  and  n. 

Cross-Weaving  as  Used  for  Producing  Fast  Centre  Selvages. 

Cross-weaving  is  also  used  in  producing  fast  centre  selvages  if  weaving  two  or  more  pieces 
of  a  fabric  at  the  same  time  in  the  loom.  This  method  of  producing  such  selvages  finds  extensive 
use  in  the  manufacture  of  velvet  ribbons,  scarfs,  and  similar  fabrics  characterized  by  their  narrow- 
ness. In  dress  goods  and  similar  abrics,  seldom  more  than  two  or  three  widths  are  put  together 
to  be  woven  in  one  width  on  the  loom. 

In  reeding  for  fabrics  woven  with  fast  centre-selvages,  we  must  be  careful  to  leave  one,  two 
or  more  empty  dents  in  the  place  where  the  fabric  has  to  be  cut  in  strips,  or  .separated  in  pieces 
after  leaving  the  loom. 

In  Diagrams  994  and  995,  two  specimens  of  such  interlacing  for  headings  are  shown.  In 
the  same  threads,  B,  shown  in  black,  represents  the  whip-threads.   Threads  C,  illustrated  outlined 


248 


and  shaded,  represent  the  ground  warp.  Threads  indicated  A,  and  shown  outHned,  represent 
the  ordinary  woven  part  of  the  fabric.    The  fiUing  is  shown  outHned  in  a  horizontal  position  {D). 

Ground  warp-threads  C  and  corresponding  whip-thread  B  must  be  drawn  in  one  dent. 

In  Diagrams  Figs.  996,  997  and  998,  illustrations  are  given  of  the  weaving  of  such  fast  centre 
selvages  in  double  pile  fabrics,  woven  side  by  side  in  a  broad  loom.  The  method  of  operation  is 
patented  by  Messrs.  Lister  and  Reixach.  For  forming  two  adjacent  fast  inner  selvages,  both  in 
the  upper  and  lower  cloth  in  double-pile  fabrics,  and  so  as  to  form  the  upper  cloth  immediately 


c.  c. 
Fig.  995. 


u.. 

err 

U 

D 

Fig.  996. 


above  the  fast  selvages  in  the  lower  cloth,  two  sets  of  needles  of  two  needles  each  are  required. 
The  needles  in  the  upper  set  are  placed  in  a  line  with  the  needles  of  the  lower  set,  and  made  to 
point  downward,  while  those  in  the  lower  set  are  made  to  point  upward.  Both  sets  of  needles 
are  fixed  in  slides,  which  can  be  simultaneously  moved  up  or  down  in  a  fixed  frame.  The  needles, 
near  to  their  points,  have  eyes  formed  through  them,  and  through  the  eyes  of  the  upper  pair  the 
binding-threads  must  be  threaded  which  are  to  form  the  fast  selvages  in  the  upper  cloth,  and 
through  the  eyes  of  the  lower  pair  the  binding-threads  which  are  to  form  the  fast  selvages  in  the 
lower  cloth  must  be  threaded.    With  these  needles  there  are  also  employed  two  pairs  of  thread- 


249 


eyes,  to  which  a  lateral  movement  can  be  given  from  the  low  shaft.  Through  the  upper  pair  pass 
two  selvage-warps  for  the  upper  cloth,  and  through  the  lower  pair  two  selvage-warps  for  the  lower 
cloth.  These  two  pair  of  eyes  are  set  one  above  the  other  at  such  a  distance  apart  as  to  leave 
space  enough  for  a  shuttle  to  pass  to  and  fro  between  the  warps  threaded  through  them.  The 
points  of  the  upper  pair  of  needles  are  likewise  set  at  a  distance  from  the  points  of  the  lower  pair 
of  needles.  In  the  upward  and  downward  movement  of  the  needles  their  points  are  brought  alter- 
nately above  and  below  the  selvage  warp-threads  with  which  the  binding-threads,  threaded  through 


Fig.  997.  '  Fig.  998. 


the  needles,  are  to  be  crossed,  and  when  the  needles  are  at  one  or  the  other  end  of  their  stroke  the 
thread-eyes  are  made  to  shog  sidewise,  so  that  the  warp  binding-threads,  which  receive  an  up- 
and-down  motion,  may  be  brought  to  one  side  and  then  to  the  opposite  side  of  the  warps,  which 
receive  a  sidewise  movement,  and  the  binding-threads  and  warps  are  thus  twisted  together  with  a 
false  twist,  which,  in  conjunction  with  the  filling,  links  them  together  and  forms  a  fast  selvage. 

Fig.  996  illustrates  a  side  elevation  of  mechanism  required  to  be  used  with  a  single  shuttle-loom 
for  forming  the  fast  inner  selvages  in  the  two  cloths  of  a  double  pile  fabric,  showing  the  binding 
and  warp-threads  in  position  while  weaving  the  bottom  piece. 


250 


Fig.  997  is  a  side  elevation  corresponding  to  the  previous  one,  except  that  the  binding  and 
warp-threads  are  shown  in  position  while  weaving  the  top  piece. 

Fig.  998  is  a  side  elevation  of  the  selvage  forming  mechanism  for  a  two-shuttle  loom. 
Parts  of  the  framework  of  the  loom  are  illustrated,  cut  away  in  the  three  diagrams  to  show  the 
needles  more  clearly. 

In  Figs.  996  and  997  A  and  are  selvage-warps,  which  are  drawn  from  a  reel  or  bobbin, 
B;  but  which  also  might  be  taken  from  the  same  beam  as  that  upon  which  the  other  selvage-warps 
are  carried,  or  from  the  main  warp-beam.  C  are  the  binding-threads,  which  are  drawn  from 
a  reel  or  bobbin,  D.  The  warps  A  A^  are  threaded  through  the  thread-eyes,  to  which  a  sidewise 
shogging  movement  is  imparted.  The  binding-threads  C  O  are  threaded  through  the  eyes  of  the 
needles,  to  which  an  up  and  down  movement  is  imparted. 

The  operation  is  as  follows:  When  the 
parts  are  in  the  position  shown  in  Fig.  996,  three 
picks  filling  are  put  into  the  bottom  cloth,  and 
the  thread-eyes  are  during  this  time  shogged 
sidewise  a  distance  equal  to  the  distance  between 
the  needles  of  each  pair.  Afterward  the  needles 
descend  and  three  picks  filling  are  put  into  the 
upper  cloth.  After  this  the  needles  rise  and 
three  picks  of  filling  are  put  into  the  bottom 
cloth,  and  during  this  time  the  thread-eyes  are 
shogged  back  into  their  former  position,  and  so 
on  continuously.  In  this  way  the  fast  selvage 
edges  are  formed  in  each  cloth  at  a  short  distance 
apart  from  one  another,  and  each  cloth  can  be 
severed  along  the  small  space  in  between  these 
two  .selvage  edges. 

The  mechanism  shown  in  Fig.  998  for  a 
two-shuttle  loom  necessarily  differs  somewhat 
from  that  shown  in  Figs.  996  and  997,  because 
when  two  shuttles  are  thrown  simultaneously  it 
is  neces-sary  to  open  two  sheds  for  the  shuttles 
to  be  passed  through. 

THE  JACQUARD  MACHINE. 

The  Jacquard  machine  is  required  for  the 
interlacing  of  fabrics  in  which  a  great  number 
of  ends  of  warps  are  bound  differently  in  the 
filling.    Every  Jacquard  machine  can  be  divided  into  the  following  parts: 

I.  The  frame  and  the  perforated  board  through  which  the  neck-cords  are  passed.  2.  The 
griffe  and  the  necessary  attachments  for  lifting  the  same.  3.  The  hooks.  4.  The  needles. 
5.  The  spring  and  spring-frame.  6.  The  needle-board.  7.  The  cylinder,  hammer,  and  batten. 
8.  The  catches.    9.  The  cards.    10.  The  Jacquard  harness. 

In  Fig.  999  we  give  a  clear  understanding  of  the  principle  of  the  construction  of  a  Jacquard 
machine  by  means  of  the  sectional  cut  of  one  cross  row  in  a  200  Jacquard  machine,  containing 
8  hooks,  (representing  an  8-row-deep  machine),  illustrating  by  it  the  arrangement  of  hooks, 
needles,  griffebars,  springs,  frame  for  holding  the  latter,  and  the  needle-board,  e,  ist  hook ;  /,  2d 
hook;  g,  3d  hook;      4th  hook;     5th  hook;  k,  6th  hook;  /,  7th  hook  ;  in,  8th  hook.  These 


251 


hooks  are  held  in  their  required  places  by  the  eyes  of  the  needles  (see  place  v  at  hook  l)  through 
which  the  former  are  passed. 

The  needles  rest  with  their  heads  a  to  b,  in  the  needle-board,  extending  outside,  towards  the 
cylinder,  for  about  ^  inch.  The  rear  part  of  the  needle — the  loop — is  passed  between  two  bars 
of  the  spring-frame,  n,  p,  and  held  by  the  latter  firmly,  but  with  sufficient  play  for  a  longitudinal 
motion  for  pressing  towards  their  springs.  The  pin  O,  is  inserted  for  holding  the  springs  in  their 
places,  requiring  one  pin  for  each  vertical  row  of  needles.  If  the  heads  of  the  needles  are 
pushed  backwards,  in  the  direction  of  arrow,  the  hooks  are  also  moved.  If  the  needles  are  not 
pushed,  the  upper  crooks  of  the  hook  will  remain  in  position,  as  in  drawing,  over  the  griffebar ; 
and  raising  the  latter,  will  consequently  raise  every  one  of  these  hooks. 


•  i;  »s        'i  ''i  '■B  7a  »l 

X 

Fig.  iooo. 


E 


E 


Fig.  iooi. 

Therefore,  if  a  blank  card  is  pressed  against  the  208  needles  of  the  machine,  used  for  present 
illustration,  all  the  needles  and  hooks  will  be  pushed  back  out  of  the  way  of  contact  with  the 
grifiebars,  thus  causing  an  empty  lift  when  they  are  raised ;  while  by  pressing  with  an  empty 
cylinder,  or  with  a  card  containing  as  many  holes  as  the  machine  has  needles,  and  so  placed  that 
the  holes  are  exactly  opposite  the  needles,  none  of  them  would  be  moved,  and  each  hook  would 
remain  vertical  ov^er  its  griffebar;  and  raising  the  griffe  will  lift  every  hook. 

The  griffe  which  has  its  section  of  the  different  bars  represented  in  Fig.  lOOO,  is  shown  in  its 
top  view  in  Fig.  lOOi.  In  the  drawing,  the  dark-shaded  places,  marked  f,  are  the  hollow  places 
through  which  the  screw  is  fastened  to  the  plunger. 


si«9*««  9  9*«9»9«e  •••«•«••••• 

999990 •eQ999ea9e99 99999999 
•  ®9999999«9«99«99  999999999 
•99999«99999e9999  9  9  999«9  99'>i>?^^^ 
999999 •9999©990A9 999999999 
999999 9999 9 99 999999999 
999999  99OS0  00'»9«9  999999999 


Fig.  1002. 

The  cylinder  around  which  the  cards  are  working  (for  operating  the  needles  and  these  in 
turn  the  hooks,  neck-cords,  leashes  and  warp-threads)  is  carried  in  the  batten.  This  batten  has 
sufficient  vibratory  motion  to  enable  it  to  move  the  required  distance  away  from  the  needle-board. 
After  coming  in  contact  with  the  catch,  it  still  moves  until  the  cylinder  has  performed  a  complete 
turn.  The  cylinder  is  steadied  in  the  required  position  by  the  hammer  pressing,  by  means  of 
a  spring,  towards  the  lantern  from  below.  Fig.  1002  represents  the  cylinder  with  the  lantern  for 
turning  the  same,  by  means  of  the  catches  mentioned  before. 

The  raising  of  the  "  griffe,"  which  in  turn  also  operates  the  other  parts  of  the  Jacquard  machine, 
as  previously  explained,  is  generally  done  by  means  of  a  lever  arrangement.  Fig.  1003  represents 
the  perspective  view  of  a  400  single-acting  Jacquard  machine  (W.  P.Uhlinger,  Philadelphia,  builder). 


252 


Fi^.  1004  illustrates  the  "  Rise  and  Fall  Shed  Jacquard  "  as  built  by  the  Geo.  W.  Stafford 

Manufacturing  Co.,  Providence,  R.  I. 

The  Jacquard  cards  have,  for  regulating  the 
required  raising  and  non-raising  of  the  hooks, 
holes  punched  so  as  to  allow  their  respective 
needles  to  penetrate  into  the  cylinder  holes  and 
are  interlaced  in  an  endless  arrangement;  hence, 
one  card  is  brought  after  the  other  in  rotation 
towards  the  needles. 

If  using  a  great  number  of  cards  in  a  set, 
they  are  made  to  fold  into  a  "  rack."  This  is  done 
by  attaching  a  wire  i  to  l  ^  inches  longer  than 
the  cards,  at  the  junction  of  .say  every  12th  to 
20th  card.  (See  c.  Fig.  1005,  between  cards 
Fig.  1003.  indicated  by  a  and  b}j 

Modification  of  the  Single-Lift  Jacquard  Machine. 
During  the  past  few  years  various  modifications  in  building  Jacquard  machines  have  been 


Fig.  1004. 

introduced.    The  object  of  this  has  been  either  the  simplifying  of  designing  and  card  stamping 
or  the  saving  of  card  paper  and  labor  for  special 
fabrics,  as  in  the  "  Ingrain  Carpet  Machines," 
the  "  Brussels  Carpet  Machines,"  etc. 

Again,  the  item  of  "speed,"  and  conse- 
quently more  production  in  cloth  for  a  given 
time,  in  damasks  and  similar  fabrics,  has  been 
sati-sfactorily  solved  by  the  construction  of  the 
"Double-Lift,  Double-Cylinder  Jacquard  Ma- 
chine."    Another  principle  of  a  modification 


Fig.  1005. 


253 


over  the  single-lift  Jacquard  machine  is  to  be  found  in  the  "  Double-Lift,  Sin^le-C\  linder 
Jacquard  Machine,"  which  has  for  its  object  the  saving  of  the  warp  by  operating  each  individual 
thread  only  when  required  to,  by  the  changes  from  up  to  down,  or  vice  versa,  in  the  design  or 
weave,  etc.  These  machines  are,  in  their  principle  of  construction  and  method  of  operation, 
individually  explained  and  illustrated  on  pages  67  to  72  in  my  treatise  on  "The  Jacquard 
Machine." 

Card  Stamping.* 

As  mentioned  previously,  holes  are  punched  in  each  individual  card,  according  to  the  design. 
This  is  done  for  each  row  at  one  stroke  or  revolution  of  tlje  piano  card-punching  machine. 

Fig.  1006  illustrates  the  perspective  view  of  such  a  machine  (operated  by  belt-power),  while 
Fig.  1006a  represents  the  top  view  of  the  "  head"  (cover  taken  off  ). 

In  the  same,  the  small  open  spaces  for  holding  the  punches  for  stamping  the  holes  in  the 
cards  for  the  needles,  as  well  as  the  large  opening  for  holding  the  punch  for  stamping  the  peg 
holes,  are  clearly  visible. 


Fig.  1006. 


If  several  sets  of  cards  of  one  design  are  required  for  starting  a  corresponding  number  of 
looms,  and  the  first  set  has  been  produced  by  the  piano  machine,  exact  duplicates  can  be  obtained 
by  means  of  the  "  Repeating  Machine."  In  this  machine  the  entire  card  is  duplicated  at  one 
stroke. 

The  Jacquard  Harness. 

To  the  lower  end  of  the  hooks  in  the  Jacquard  machine  the  neck-cords  are  adjusted.  The 
latter  are  passed  separately  through  one  of  the  corresponding  holes  of  the  perforated  bottom 
board.  To  these  neck-cords  are  fastened  the  leashes  of  the  Jacquard-harness,  about  one-half  to 
one  inch  above  the  frame  containing  the  rods  which  guide  the  neck-cords  vertically,  as  the  hooks 
are  raised  and  lowered. 

The  different  harness-cords  are  threaded  through  the  "comber-board,"  or  the  "journals,"  in 
various  ways,  and  are  called  "tie-ups."  After  the  harness-cords  are  threaded  the  heddles  are 
adjusted. 

*In  a  chapter  on  "Preparing  and  Stamping  of  Jacquard  Cards,"  comprising  pages  85  to  102  of  the 
author's  treatise  on  "The  Jacquard  Machine,"  a  thorough  and  complete  description,  conspicuously  illustrated 
(45  illustrations),  of  the  above  subject  will  be  found. 


254 


In  my  treatise,  already  alluded  to,  the  different  methods  of  "tying-up  of  Jacquard  harness" 
have  been  classified  as  follows: 
I. — Straight-through  tie-up. 

II. — Straight-through  tie-up  for  repeated  effects,  in  one  repeat  of  the  design. 

III.  — Straight-through  tie-up  of  Jacquard  loom,  having  front  harness  attached. 

IV.  — Centre  tie-up. 

V. — Straight-through  and  point  tie-ups  combined. 
VI. — Straight-through  tie-up  in  two  sections. 

VII. — Tying-up  a  Jacquard  harness  for  figuring  part  of  the  design  with  an  extra  warp. 
VIII. — Straight-through  tie-up  in  three  sections. 
IX. — Point  tie-up  in  three  sections. 
X. — Combination  tie-up  in  two  sections. 
XI. — Straight-through  tie-up  in  four  sections. 

XII.  — Tying-up  of  Jacquard  looms  with  compound  harness  attached. 

XIII.  — Tying-up  Jacquard  looms  for  gauze  fabrics. 

XIV.  — Tying-up  harness  for  carpets. 

Each  of  these  methods  of  tying-up  is  treated  in  a  thorough  manner  and  is  fully  illustrated 
by  over  one  hundred  special  illustrations: 

The  Comber-board  and  Methods  of  Figuring  for  it. 

The  comber-board  is  placed  in  the  Jacquard-loom  for  the  purpose  of  guiding  the  harness- 
cords  from  the  neck-cords  to  their 
respective  position  as  required  by  the 
fabric  for  operating  the  heddles  (to 
which  they  are  adjusted  on  their 
other  extreme  end.)  There  are  two 
kinds  of  comber-boards  in  use.  a. 
Comber-boards  made  of  a  solid  piece 
of  material,  either  wood  or  porcelain, 
or  constructed  by  using  wires  crossing 
each  other  and  adjusted  in  a  frame 
(see  Fig.  1007).  b.  Comber-boards 
made  in  strips  of  either  wood  or 
porcelain  and  adjusted  afterwards  in 
a  wooden  frame  (see  Figs,  loo^a  and 
looyb). 

Comber-boards  Made  of  a  Solid  Piece  of  Material. 

Before  ordering  a  comber-board,  it  is  necessary  to  know  the  texture  of  the  fabric  in  the 
loom,  and  also  the  number  or  size  of  the  machine  to  be  used ;  for  the  number  of  holes  per  inch 
in  the  comber-board  is  regulated  by  this.  Afterwards,  we  may,  if  we  choose,  arrange  the 
number  of  holes  in  depth  of  the  comber-board,  according  to  the  number  of  griffe-bars  in  the 
machine  (guided  by  the  fabric  to  be  made).  We  may  have  eight  griffe-bars  in  the  machine,  and 
arrange  the  comber-board  4,  6,  8,  10,  12  rows  deep;  or  we  may  have  12  griffe-bars  in  the 
machine,  and  arrange  the  comber-board  12,  10,  8,  6,  4  rows  deep. 

Rule:  The  number  of  holes  to  one  inch  in  the  comber-board  must  equal  the  texture  of  the 
fabric  to  one  inch  in  loom. 

The  width  and  depth  of  the  comber-board  are  regulated  by  the  width  of  the  cloth  required 


Fig.  1007 


255 


and  by  the  design  to  be  used.  The  greater  the  number  of  rows  in  depth  the  closer  they  must 
be;  the  same  is  true  of  the  width.  It  is  necessary  to  take  care  not  to  have  the  comber-board 
too  deep,  as  the  consequence  would  be  a  bad  shed ;  furthermore,  we  must  not  have  the  holes  too 
close  together,  as  in  a  high  texture  this  would  make  trouble  in  the  weaving  through  the  catch- 
ing of  the  heddles  with  the  warp,  and  also  cause  useless  chafing  of  the  warp-threads  and  the 
heddles. 

The  Changing  of  Solid  Comber-boards  for  Different  Textures. 

In  Jacquard  work  we  generally  use  the  same  texture,  or  as  near  as  possible,  as  the  loom  is 
tied  up  for ;  but  changes  are  unavoidable.  If  we  must  reduce  the  texture  of  the  fabric  in  a  Jac- 
quard loom  tied  up  with  a  solid  comber-board,  we  must  also  reduce  proportionally  the  number  of 
hooks  and  needles  used  in  designing,  and  hence  the  number  of  heddles  used  per  inch.  These 
heddles  will  thus  be  left  empty  when  drawing  in  the  warp.  To  accomplish  this,  lift  the  full 
machine  and  throw  the  hooks  not  to  be  used  from  the  griffe-bars,  lowering  in  this  way  every  mail 
which  is  not  to  be  used.  Sometimes  there  may  be  only  one,  two,  three,  or  four  hooks  to  be 
thrown  off,  on  account  of  the  design.  At  other  times  it  may  be  necessary  that  one-eighth,  or  one- 
fourth,  or  even  one-half,  of  the  whole  number  shall  be  dropped  for  this  purpose. 


Comber-boards  Made  in  Strips  and  Adjusted  Afterwards  in  a  Frame. 

By  these  comber-boards  which  are  used  to  a  great  advantage  on  narrow  loom  work  up  to 
36-inch  fabrics,  we  can  change  the  texture  for  the  fabric ;  for  the  strips  composing  the  comber- 


FiG.  1007a. 


^  '  ^MAf,*      ^  *  A  A 1 «  •  44  A  a  A  *  «  A  A  *  A  i  4  4  •  4««  4 A  Cm>M 


Fig.  1007*. 


board  may  be  drawn  apart,  thus  changing  the  high  texture  to  lower.  To  give  a  clear  under- 
standing. Figs.  1007a  and  ioo7<^  are  given. 

Fig.  loojb  represents  an  8-row  deep  comber-board,  a,  b,  c,  d,  composed  of  10 
are  set  close  together.  By  examining  each  strip  5  cross-rows  of  holes  will  be  found, 
whole  number  of  holes  400. 

Suppose  this  comber-board  is  intended  for  a  texture  of  100  ends  per  inch;  this  will  give  for 
the  width  of  the  fabric  (shown  below,  i,  k  to  /,  m)  4  inches. 

In  Fig.  looya,  the  comber-board  is  arranged  for  a  texture  of  half  as  many  ends 
per  inch,  and  the  10  strips  are  arranged  accordingly;  the  empty  places  between  the 
same  size  as  the  strips  themselves,  and  the  fabric  design  below  the  comber-board  is 
correspond. 


strips  which 
making  the 


,  or  50  holes 
strips  are  of 
arranged  to 


256 


GOBELIN  TAPESTRY. 

Tapestry  is  neither  real  weaving  nor  true  embroidering.  Though  wrought  upon  a  loom  and 
upon  a  warp  stretched  out  along  its  frame,  there  is  no  filling  thrown  across  the  threads  with  a 
shuttle,  but  the  filling  is  worked  with  many  short  threads  of  various  colors,  put  in  with  a  needle. 

Tapestry  runs  back  into  remote  antiquity.  The  Greeks  and  Romans  used  tapestry  for  cur- 
tains and  other  hangings;  and  the  use  of  it  for  like  purposes  was  common  throughout  Europe  in 
the  succeeding  ages.  "Arras"  was  the  usual  name  for  hangings  of  this  kind,  owing  to  the  excel- 
lence of  the  work  produced  in  that  town  in  England.  "French  tapestry"  has  long  been  famous 
also.  Francis  I.  brought  Flemish  workmen  to  Fontainebleau,  and  the  establishment  was  kept  up 
by  his  successors.  A  hundred  years  later,  Colbert,  the  celebrated  minister  to  Louis  XIV.,  took 
under  his  protection  a  manufactory  which  had  been  set  up  by  two  brothers,  of  the  name  of 
"Gobelin,"  originally  dyers;  and  in  a  very  short  time  the  productions  of  the  "Hotel  royal  des 
Gobelins"  were  universally  admired.  The  well-known  tapestry  which  for  many  generations  hung 
upon  the  walls  of  the  House  of  Lords,  London,  England,  and  which  were  destroyed  by  the  fire 

of  1834,  were  Flemish,  and  executed  in  the  reign  of 
Queen  Elizabeth  to  commemorate  the  destruction  of 
the  Spanish  Armada.  But  the  culminating  point  in 
the  history  of  tapestry  was  when  Rafaelle  was  employed 
to  make  the  designs  for  a  series  of  Scripture  subjects,  to 
be  hung  upon  the  walls  of  the  Sistine  chapel  in  Rome. 

Tapestry  work  is  the  most  costly  and  effective  of 
the  textile  manufacture.  We  will  next  explain  the 
method  of  operation  as  observed  in  the  manufacture  of 
these  fabrics  during  the  last  three  centuries.  (Older 
kinds  of  tapestries,  for  example  the  well-known 
"  Bayeux  tapestry"  were  wrought  by  the  needle  on  the 
surface  of  the  cloth  and  thus  are  actually  produced  by 
embroidering).  As  mentioned  before,  the  warp-threads 
are  stretched  in  a  frame  (loom)  in  a  vertical  position  for 
the  weavers.  The  method  of  interlacing  the  filling 
into  the  before  mentioned  warp  is  done  after  the  prin- 
ciple of  the  plain  weave  by  means  of  various  numbers 
of  colored  filling-threads  each  guided  by  a  needle. 
These  different  colors  of  filling  are  arranged  after  a  cer- 
tain design.  For  this  purpose  warp-threads  in  the  required  position  are  pulled  by  the  weaver 
towards  himself  with  one  hand,  and  with  the  other  hand  the  required  needle  (bobbin)  block  con- 
taining the  color  of  filling  as  called  for  by  the  design  is  inserted.  Supposing  in  the  present  example 
the  weaver  pulls  towards  himself  the  uneven  numbered  warp-threads  (i,  3,  5,  etc.)  with  the  left  hand, 
and  inserts  the  block  containing  the  required  colored  thread  in  the  direction  from  left  to  right,  by 
means  of  the  right  hand.  Next  he  pulls  the  even  numbered  warp-threads  (2,4, 6,  etc.)  and  returns 
the  block  before  mentioned.  In  this  mannei  the  weaver  continues  to  entwine  one  color  until  a 
certain  part  of  the  design  requiring  this  color  is  finished.  He  takes  next  another  color  as  required 
by  the  design  and  finishes,  similar  to  the  before  explained  method,  any  place  where  this  color  is 
required.  In  this  manner  he  continues  to  treat  each  color  as  required  by  the  design.  The  beat- 
ing up  of  the  filling  so  inserted  is  done  by  means  of  a  comb.  Taking  the  fabric  into  consideration 
in  its  vertical  position  it  will  be  seen  that  there  is  no  interlacing  from  one  color  effect  to  the  other; 
therefore  these  effects  must  be  sewed  together  after  the  embroidering  is  done. 
Diagram  Fig.  1008  illustrates  the  method  of  operation  for  such  a  Gobelin. 


Fk;.  1008. 


APPENDIX. 


Analysis  of  the  Various  Textile  Fabrics  and  Calculations  Necessary  for  their 

Manufacture. 

The  analysis  of  textile  fabrics  forms  a  prominent  part  of  the  knowledge  required  in  a  com- 
petent designer  and  manufacturer.  In  addition  to  theory  a  practical  experience  in  the  construc- 
tion of  the  various  fabrics  is  likewise  called  for.  Thorough  analysis  consists  not  only  in 
"picking  out"  the  arrangement  of  the  interlacing  of  warp  and  filling  (the  weave),  but  also  in  ascer- 
taining the  materials  of  which  both  systems  of  threads  are  composed,  the  process  such  raw 
materials  must  be  subjected  to  before  the  required  yarn  or  thread  is  produced,  necessary  for  the 
construction  of  the  fabric  on  the  loom,  as  also  the  various  processes  commonly  designated  as  finish- 
ing. 

The  analysis  of  a  fabric  is  not  always  required  for  duplicating  the  fabric,  as  in  some  in- 
stances it  has  for  its  main  object  only  one  of  the  previously  mentioned  points, as  to  materials  used, 
amount  of  twist  in  yarn,  process  of  finishing  necessary,  etc.  But  whichever  special  point  is  re- 
quired to  be  ascertained,  or  should  a  complete  reproduction  of  a  given  sample  be  required,  it  is  al- 
ways best  to  have  a  clear  understanding  (or  analysis)  of  all  points.  For  example  :  A  knowledge 
of  the  weave  will  be  the  guide  for  a  special  analysis  as  to  the  materials  to  use — the  amount  of  twist 
to  put  into  the  yarn — or  the  finish  required,  for  the  harder  a  weave  "  takes  up"  the  stronger  the 
warp  yarn  must  be  (as  to  quality  of  material  to  use,  or  amount  of  twist  to  be  put  into  the  yarn) 
so  as  to  resist  the  amount  of  wear  incurred  during  the  weaving.  The  weave  employed  in  inter- 
lacing the  warp  and  filling,  and  the  raw  materials  used  in  the  manufacture  of  the  yarn,  will  influ- 
ence the  process  of  finishing  required,  etc. 

The  complete  analysis  of  textile  fabrics  can  thus  be  classified  under  the  following  eightpoints; 
I.  Ascertaining  the  Weight  per  Yard  and  Ends  per  Inch  in  Warp  and  Filling  for  the  Fin- 
ished Fabric  from  a  Given  Sample. 

II.  Ascertaining  the  Weave. 

III.  Ascertaining  Raw  Materials  Used  in  the  Construction  of  Te.xtile  Fabrics. 

IV.  Ascertaining  the  Te.xture  Required  in  Loom  for  a  Given  Fabric  Sample. 

V.  Ascertaining  the  Arrangement  of  Threads  in  a  Sample  according  to  their  Color  and 
Counts  for  the  Warp  and  Filling. 

VI.  Ascerta'ning  the  Sizes  of  the  Yarns,  or  their  Counts,  as  Necessary  to  be  Produced  Tor 
the  Reproduction  of  the  Given  Sample. 

VII.  Ascertaining  the  Weight  of  the  Cloth  per  Yard  from  the  Loom. 
VIII.  Ascertaining  the  Process  of  Finishing  Necessary,  and  Amount  of  Shrinkage  of  the 
Fabric  during  this  Process. 

These  eight  points,  when  carefully  considered,  will  in  most  cases  produce  the  required  object, 
"a  thorough  analysis  "  or  a  thorough  understanding  of  the  con.struction  of  the  fabric  with  which 
the  manufacturer  has  to  deal. 

I.    Ascertaining  the  Weight  per  yard  of  the  Finished  Fabric,  and  its  Finished  Texture 

(Ends  per  inch  in  Warp  and  Filling). 

Usually  the  sample  given  to  the  designer  for  analysis  is  less  in  length  than  one  yard  (of  the 
finished  fabric),  and  generally  narrower  than  the  finished  width  of  the  cloth ;  oftentimes  only  one 
or  two  square  inches,  or  even  less,  being  furnished.    Should,  however,  one  or  more  yards  of  a 

(257) 


i 

258 

fabric,  having  its  regular  width  be  given,  it  is  easy  for  the  designer  to  solve  the  question  by 
weighing  the  cloths  given  and  dividing  the  weight  thus  ascertained  by  the  number  of  yards  in 
the  sample.  The  result  will  be  the  weight  per  yard  of  the  finished  fabric.  But  when  the  size 
of  the  sample  submitted  is  small  (less  than  one  yard)  the  weight  per  yard  must  be  found  by 
figuring  in  proportions. 

Rule  for  Ascertaining  fro7n  a  Small  Sample  [fijiished)  the  Weight  of  the  Fabric  in  Ounces  for  One 

Yard. 

Cut  your  sample  to  a  known  size,  and  divide  the  number  of  square  inches  thus  derived  into 
the  number  of  square  inches  which  one  yard  of  the  fabric  will  contain. 

1944  square  inches  f  wide  fabrics  =  54  inches  wide. 
972      "         "      f    "        "  27  " 

Multiply  the  result  with  the  weight  in  grains  of  your  sample  and  divide  the  product  by  42)7/4 
which  will  give  you  the  ounces  per  yard  for  the  fabric  in  question. 

For  example :  Suppose  you  have  a  f  wide  fabric.  The  sample  cut,  or  stamped,  with  a  die, 
3  inches  by  3  inches  equals  9  square  inches.  Suppose  the  weight  of  these  9  square  inches  is 
25  grains. 

Question  :  Required  the  weight  in  ounces  of  one  yard  of  cloth,  being  f  wide  ? 
Answer :  f  or  54  inches  wide  fabric  54  x  3^  or  1944  square  inches. 

1944  -^9  =  2l6X  25  —  5400  -=-  437.5  =  12.34  oz. ;  thus  the  weight  of  the  fabric  is  12^  oz. 
Another  example.     Take  a  f  wide  fabric.     The  sample  cut,  or  stamped  with  a  die  3  inches 
by  4  inches,  equals  12  square  inches.    Suppose  the  weight  of  these  12  square  inches  is  28  grains. 
Question :  Required  the  weight  in  ounces  of  one  yard  of  cloth  to  be  27  inches  wide. 
Answer :  27  inches  wide  fabric  =:  27  x  3^  or  972  square  inches. 
972      12  =  81  X  28  =  2268     437.5  =  5.18  oz.,  weight  of  fabric  per  yard. 


Table  for  Ascertaining  the  Number  of  Square  Inches  in  any  Fabric  with  a  Width  of  18  Inches 

to  j"^  Indies. 


Width  of  Fabric 
in  inches. 

Number  of 
square  inches 

Width  of  Fabric 
in  inches. 

Number  of 
square  inches 
in  one  yard. 

in  one  yard. 

18 

648 

37- 

1332 

19 

684 

38. 

1368 

20 

720 

39- 

1404 

21 

756 

40. 

1440 

22 

792 

41. 

1476 

2.^ 

828 

42. 

1512 

24 

864 

43- 

1548 

25 

900 

44. 

1584 

26 

936 

45- 

1620 

27 

972 

46. 

1656 

28 

1008 

47- 

1692 

29 

1044 

48. 

1728 

30 

1080 

49- 

1764 

31 

1116 

50. 

1800 

32 

1152 

51. 

1836 

33 

1188 

52. 

1872 

34 

1224 

53- 

1908 

35 

1260 

54- 

1944 

36 

1296 

60. 

2160 

To  Ascertaiji  the  Finished  Texture  of  the  Submitted  Sample. 

For  this  purpose  unravel  a  few  ends  of  the  warp  and  filling  of  each  system  on  one  side  of 
the  sample,  and  count  the  number  of  threads  one  inch  contains  (in  each  system).    In  the  places 


259 


from  which  the  filHng  has  been  extracted  the  texture  for  the  warp  will  be  found,  and  in  the  places 
from  which  the  warp-threads  have  been  drawn  the  filling  texture  will  be  found.  It  is  best  tp 
ascertain  the  texture  for  each  system  of  threads  in  at  least  two  different  places,  so  that  if  found 
to  be  the  same  it  will  serve  as  a  test  for  correct  work.  If  found  not  to  correspond,  it  will  require 
a  third  counting  of  the  respective  threads  per  inch,  so  as  to  ascertain  which  of  the  two  previous 
countings  is  correct.  Fabrics  having  a  fancy  arrangement  with  regard  to  their  threads  frequently 
require  to  have  the  number  of  threads  ascertained  in  more  than  one  inch.  In  some  fabrics  the 
texture  must  be  found  by  counting  the  number  of  threads  in  one  repeat  of  the  pattern  and  then 
dividing  this  result  by  the  number  of  inches  these  threads  occupy  in  thq  fabric. 

Example. —  i8o  threads  of  warp  in  one  repeat  of  the  pattern  occupy  3^  inches  space  in  the 
finished  fabric.  Question:  Find  the  texture  (average).  Answer:  180  ^  3^  =  48  threads,  tex- 
ture of  warp  in  given  sample. 

II.  Ascertaining  the  Weave. 

This  part  of  the  analysis  of  a  fabric  is  based  first  of  all  upon  a  thorough  comprehension  of 
the  theory  of  constructing  the  various  weaves  for  single  cloth,  double  cloth,  etc.  It  also  requires, 
in  dealing  with  heavy  fulled  fabrics,  or  fabrics  having  the  face  filling  broken  during  the  process  of 
finishing,  a  considerable  amount  of  patience. 

Ascertaining  the  weave  implies  to  the  designer  that  he  is  to  solve  from  a  sample  the  manner 
in  which  both  systems  of  threads,  composing  the  fabric,  interlace  each  other,  and  this  is  techni- 
cally known  as  the  "picking-out"  process.  An  experienced  designer  will  in  mo.st  cases  ascertain 
the  weave  necessary  for  producing  a  given  sample  by  a  mere  glance  at  it,  while  in  fabrics  having 
fine  counts  of  silk  or  cotton  yarn  the  microscope  will  assist  him  in  designating  the  weave  without 
"picking-out."  But  as  such  skill  can  only  be  arrived  at  after  years  of  practice  and  experience  we 
will  define  the  "picking-out"  process  for  the  benefit  of  the  unskilled. 

If  it  is  required  to  ascertain  the  weave  in  a  fabric  having  a  nap  on  its  surface,  the  nap  must 
be  carefully  removed  by  singeing  it  off  by  holding  it  over  a  flame,  care  being  taken  not  to  burn 
the  threads.  Next  carefully  remove  the  burnt  refuse  adhering  to  the  structure  with  a  sharp  knife. 
(It  is  well  to  have  a  sharp  knife  or  razor  always  at  hand  for  this  purpose.) 

Always  endeavor  to  get  the  samples  for  "picking-out"  sufficiently  large,  containing  at  least 
two  or  three  repeats  of  the  weave,  warp  and  filling-ways,  in  excess  of  the  amount  of  cloth 
necessary  for  liberating  threads  in  each  system,  so  as  to  get  the  proper  starting-point  for  commen- 
cing to  pick-out.  If  a  sample  is  submitted  for  "picking-out"  which  does  not  contain  a  complete 
repeat  of  the  weave,  dissect  the  amount  on  hand  and  finish  the  complete  weave  in  accordance  with 
the  instructions  given  in  the  theory  of  constructing  weaves.  The  experienced  designer, 
when  he  gets  a  sample  for  dissection,  readily  understands  which  system  of  threads  are  the  warp 
and  which  the  filling,  but  to  the  inexperienced  this  will  prove  the  first  difficulty  which  will  have 
to  be  mastered.  To  aid  in  this  the  following  rules  are  given,  which  if  carefully  con-~idered  (with 
reference  to  the  sample  given)  must  greatly  assist  the  novice  in  solving  the  problem. 

If  the  sample  submitted  for  "  picking-out "  contains  a  part  of  the  selvage,  the  latter  will 
readily  indicate  warp  from  filling,  for  the  selvage-threads  always  run  in  the  direction  of 
the  warp. 

If  the  threads  in  one  system  are  "harder"  twisted  than  in  the  other,  the  hard-twisted  threads 
are  generally  the  warp  system. 

If  the  sample  submitted  for  analyzing  has  what  is  technically  known  as  a  "face-finish" 
(kersey,  beaver,  doeskin,  broadcloth,  etc.),  the  direction  of  the  "  nap"  indicates  the  warp. 

The  "counts"  of  yarn  found  used  in  each  system  will  often  assist  in  ascertaining  which  is  the 
warp  and  which  is  the  filling,  for  in  most  instances  the  yarn  used  for  warp  is  of  a  finer  number 
than  the  filling. 


260 


Fig.  1009. 


If  the  fabric  has  cotton  yarn  for  one  system  of  threads  and  woolen  for  the  other  (as  in  union 
fabrics),  the  cotton  yarn  is  generally  the  warp  yarn. 

If  in  the  sample  submitted  for  analysis  the  one  system  of  threads  is  found  to  have  been  sized 
or  starched,  and  not  the  other,  the  former  is  the  warp. 

If  the  sample  contains  "  reed  marks"  (or  im- 
perfections known  to  the  weaver  as  being  caused 
only  by  the  warp  system),  such  imperfections 
readily  characterize  the  respective  systems  of 
threads. 

Another  guide  for  distinguishing  the  warp 
from  the  filling  is  found  in  the  "style"  of  the 
respective  fabrics  submitted  for  "picking  out." 
In  fabrics  having  a  .striped  character,  or  check 
effects  in  which  the  one  direction  of  the  lines  is 
prominent  compared  with  the  others,  the  direc- 
tion of  the  stripes,  or  the  prominent  lines  in 
the  check,  indicate  the  warp  system. 

In  fabrics  composed  of  two  systems  of  filling  (face  filling  and  backing)  and  one  system  of 
warp,  the  heavy  and  soft-spun  filling,  known  as  the  "  backing,"  indicates  itself,  and  thus  the  system 
of  threads. 

Fabrics  are  generally  dissected  by  in- 
vestigating the  method  of  interlacing  the 
filling  into  the  warp;  some  fabrics  require 
their  weaves  to  be  dissected  by  ascertaining 
the  interlacing  of  successive  warp-threads 
in  the  filling,  such  as  the  corkscrews,  diago- 
nals and  similar  fabrics.  Wea\cs  in  pile 
fabrics,  such  as  velvets,  Astrakhans,  etc.,  are 
ascertained  the  quickest  by  analyzing  the 
body  structure. 

The  instrument  required  for  "picking 
out"  is  a  strong  needle  with  a  sharp  point. 
In  some  instances  the  microscope  is  found 
to  be  of  much  service.  The  work  of  picking 
out  a  sample  is  mo.st  readily  accomplished 
by  proceeding  as  follows  :* 

Clear  off  the  nap  or  fibres  on  the  sur- 
face of  the  sample  as  previously  mentioned. 
In  fabrics  without  a  nap  this  is,  of  course, 
not  required.  Next  unravel  sufficient  filling 
on  top  of  the  fabric,  and  warp  on  the  left 
hand  side,  to  produce  two  fringed  edges  of 
say  about  to  inch  in  length.  If  you 
should  desire  to  save,  from  the  sample  sub- 
mitted for  analysis,  as  much  as  possible, 
make  straight  cuts  with  the  scissors  at  a  distance  of  about  3/2  to  3^  inches  from  where  you  want 
to  stop  dissecting  threads  This  procedure  is  illustrated  by  diagram  Fig.  1009.  A-B-C-D,  sample 
submitted  for  "picking  out."    Arrow  O  direction  of  warp.    Arrow  0^  direction  of  filling. 

*Use  picking  out  of  the  filling  from  the  structure  in  the  example  given  for  explanation. 


Fig.  ioio. 


261 


The  cuts  in  the  fabric  are  shown  at  the  places  indicated  by  r  and  /.  Letter  S  indicates  the 
place  where  the  first  warp-thread  and  the  first  pick  meet — the  point  for  commencing  to  "  pick-out." 

After  the  sample  is  prepared  according  to  the  illustration  just  given,  raise  the  first  pick  about 
xV  of  an  inch  with  the  "picking-out  needle."    See  Fig.  loio. 

Place  the  sample  in  the  left  hand  asshown  in  diagram  loi  I,  next  ascertain  the  arrangement  of 
interlacing  pick  number  i,  warp-ways,  until  repeat  is  obtained. 

Every  time  a  warp-thread  is  found  situated 
above  the  filling,  put  a  corresponding  indication 
on  the  respective  square  of  the  designing  paper 
(with  pencil  marks  or  prick  holes  with  the 
needle),  whenever  you  find  the  filling  covering 
(floating  over)  one,  two  or  more  successive 
warp-threads,  leave  correspondingly  one,  two 
or  more  successive  squares  empty  in  the  lateral 
line  of  small  squares  upon  the  designing  paper. 

After  the  intersecting  of  number  i  pick 
has  been  clearly  ascertained  liberate  this  pick 
out  of  the  fringed  warp  edge  and  duplicate 
the  procedure  with  pick  number  2,  to  be  fol- 
lowed by  picks  3,  4,  5,  etc.,  until  the  repeat  is 
obtained.  If  dealing  with  a  soft-spun  filling 
yarn  be  careful  in  raising  it,  to  avoid  breaking 
the  thread ;  also  be  careful  that  after  the 
interlacing  of  the  pick  has  been  ascertained,  it 
is  entirely  removed  so  that  no  small  pieces  of  the  thread  remain  in  the  fringed  part  of  the  warp ; 
for  if  such  should  be  the  case  it  might  lead  to  mistakes  in  examining  the  next  adjoining  pick. 

III.  Ascertaining  Raw  Materials  Used  in  the  Construction  of  a  Fabric. 

In  most  cases  an  examination  of  the  threads  liberated  during  "picking-out"  with  the  naked 
eye  will  be  sufficient  to  distinguish  the  material  used  in  the  construction  of  the  fabric  yet  sometimes 
it  is  found  necessary  to  use  the  microscope  or  a  chemical  test  for  their  detection.  For  example  :  Tests 
might  be  required  to  show  whether  a  certain  thread  is  all  wool  or  whether  a  certain  thread  is 
all  silk,  etc.    For  solving  such  questions,  the  following  methods  are  given : 

A  common  and  ready  method  for  ascertaining  the  difference  between  animal  and  vegetable 
fibres  is  to  burn  some  of  the  threads  of  yarn  in  a  flame.  The  vegetable  fibre  is  composed  of 
carbon,  hydrogen  and  oxygen,  while  the  animal  fibre,  in  addition  to  these,  contains  nitrogen. 
By  burning,  the  threads  used  in  testing  the  first  mentioned  fibre  will  result  in  carbonic  acid  and 
water,  while  those  of  the  latter,  or  of  animal  fibre,  result  in  combinations  containing  nitrogen  which 
element  readily  makes  itself  known  by  its  peculiar  smell  or  disagreeable  odor  similar  to  burnt 
feathers.  Another  point  which  it  is  well  to  note  is  the  rapidity  with  which  the  thread  com- 
posed of  vegetable  origin  burns  as  compared  with  the  burning  of  the  thread  having  an  animal 
substance  for  its  basis.  In  the  latter  case,  only  a  little  bunch  of  porous  carbon  forms  itself  at  the 
end  submitted  to  the  flame,  and  it  does  not  form  a  flame  as  in  the  case  of  the  former.  As  in 
some  instances  these  two  tests  will  be  found  unreliable,  a  more  exact  analysis  maybe  required.  If 
so,  proceed  after  one  or  the  other  of  the  following  formulas: 

To  Detect  Cotton  or  other  Vegetable  Fibre  in  Woolen  or  Silk  Fabrics. 

Boil  the  sample  to  b^  tested  in  a  concentrated  solution  of  caustic  soda  or  potash,  and  the 
wool  or  silk  fibre  will  rapidly  dissolve,  producing  a  soapy  liquid.    The  cotton  or  other  vegetable 


262 


fibre  therein  will  remain  undisturbed,  even  though  boiling  in  weak  caustic  alkalies  for  several 
hours,  care  being  taken  to  keep  the  samples  below  the  surface  of  the  solution  during  the  opera- 
tion. If  during  this  steeping  process  it  is  exposed  to  the  air,  the  cotton  fibre  becomes  rotten, 
especially  when  the  exposed  portions  are  also  at  the  same  time  brought  under  the  influence  of 
steam.  (Any  cotton  fibres  remaining  from  the  testing,  if  colored,  may  be  bleached  in  chlorine 
water,  and  afterwards  dissolved  with  cupro-ammonia.) 

Prof.  E.  Kopp  gives  the  following  test :  "  Wool  is  only  soluble  in  cupro-ammonia  by  the 
aid  of  heat.  Concentrated  acids,  such  as  sulphuric,  nitric,  or  preferably  hydrochloric,  act  in  the 
cold  upon  silk,  but  not  on  wool.  The  dissolving  properties  of  cupro-ammonia  on  all  vegetable 
fibres,  make  it  one  of  the  most  reliable  of  tests.  Cupro-ammonia  is  prepared  by  suspending 
strips  of  copper  in  concentrated  ammonia  in  a  large  flask,  tightly  corked  and  occasionally  shaken, 
so  as  to  bring  the  metal  in  contact  with  the  oxygen  of  the  air.  By  degrees  a  tolerably  concen- 
trated solution  of  oxide  of  copper  in  ammonia  is  obtained  which  dissolves  cotton,  and  other 
vegetable  fibres,  leaving  animal  fibres  untouched." 

To  Detect  Silk  from  Wool  or  the  Vegetable  Fibres. 

Prof  Hummel  gives  the  following  process  in  his  treatise  on  "The  Dyeing  of  Textile  Fabrics:" 
"  The  best  solvent  for  silk  is  an  alkaline  solution  of  copper  and  glycerine,  made  up  as  follows : 
Dissolve  l6  grams  copper  sulphate  in  i^o-i6o  c.  c.  distilled  water,  and  add  8-10  grams  pure 
glycerine  (Sp.  Gr.  1.24);  a  solution  of  caustic  soda  has  to  be  dropped  gradually  into  the  mixture 
till  the  precipitate  at  first  formed  just  re-dissolves ;  excess  of  NaOH  must  be  avoided."  This 
solution  does  not  dissolve  either  wool  or  the  vegetable  fibres  and  thus  serves  as  a  distinguishing 
test. 

Still  another  method  is  given,  as  follows:  Concentrated  zinc  chloride,  138°  T\v.  (Sp.  Gr.  1.69) 
made  neutral  or  basic  by  boiling  with  excess  of  zinc  oxide,  dissolves  silk,  slowly  if  cold,  but  very 
rapidly  if  heated,  to  a  thick  gummy  liquid.  This  reagent  may  serve  to  separate  or  distinguish 
silk  from  wool  and  the  vegetable  fibres,  since  these  are  not  affected  by  it.  If  water  be  added  to 
the  zinc  chloride  solution  of  silk,  the  latter  is  thrown  down  as  a  flocculent  precipitate.  Dried  at 
230°  to  235°  F  the  precipitate  acquires  a  vitreous  aspect,  and  is  no  longer  soluble  in  ammonia. 

Rules  for  Arranging  the  Fabric  to  be  Tested  and  Methods  for  Ascertaining  the 
Various  Percentages  of  Each  Fibre  Composing  the  Thread  or  Woven  Cloth. 

Cut  the  sample  to  be  tested  to  a  known  size  with  a  sharp  pair  of  scissors,  or  stamp  out  the  de- 
sired quantity  with  a  die,  of  which  you  know  the  exact  size.  Always  use  the  largest  sample  avail- 
able and  be  very  accurate  in  cutting  to  measure.  Next  weigh  the  sample  upon  a  scale  (of  great  ac- 
curacy) and  make  a  careful  memorandum  of  its  weight;  then  submit  the  sample  to  one  of  the 
above  mentioned  tests  (adapted  to  the  material  to  be  tested),  and  dry  the  remaining  fibre.  Weigh 
the  latter  after  thoroughly  dry  and  deduct  the  weight  from  the  gross  weight  previously  obtained. 
The  remainder  will  represent  the  weight  of  the  fibre  dissolved  by  the  test. 

"  The  ainot(7it  of  each  kind  of  fibre  iii  sample  is  in  proportion  to  the  percentage  of  each  fibre 
in  a  full  piece  of  cloth." 

Example  :  Required  to  ascertain  percentage  of  cotton  and  wool  fibres  in  a  fabric. 

Sample  stamped  with  a  die  2X4  inches  =  8  square  inches  weighs  24  grains.  Suppose 
the  "  caustic  soda  "  process  for  testing  is  used  and  the  refuse  of  cotton,  dried,  weighs  8  grains. 
Hence : 

24  grains  gross  weight  of  cloth  8  square  inches. 
8     "      weight  of  cotton  in  8  square  inches. 


16     "       •  "       "    wool     "  8  square  inches. 


263 


Or,  8  grains  cotton  in  24  grains  gross  weight  =  333^  per  cent,  of  100. 
16     "      wool    "  24     "        "        "      =  662^     "         "  " 

24     "  100 
Answer :  The  cloth  given  for  testing  in  the  present  example  contains  33^  per  cent,  cotton 
and  66^  per  cent,  wool,  or,  one-third  of  the  mixture  is  cotton  fibre  and  two-thirds  wool  fibre. 

IV.   To  Ascertain  the  Texture  of  Fabrics  Required  in  Loom. 

Of  all  the  different  points  required  to  be  ascertained  the  present  is  probably  the  most  difficult 
to  master,  in  fact,  it  can  only  be  accomplished  after  considerable  practical  experience.  To  mate- 
rially aid  the  novice  in  this  work,  it  is  strongly  recommended  that  he  provide  himself  with  a  col- 
lection of  different  samples  of  finished  fabrics  with  the  given  amount  of  shrinkage  of  each  during 
finishing.  Such  a  collection  he  can  afterwards  use  as  a  guide  for  ascertaining  the  texture  of 
similar  fabrics. 

The  Shrinkage  of  a  Fabric  in  Width  from  Loom  to  Case  (or  Finished  State). 

The  "setting"  of  a  fabric  in  the  loom,  or  the  reed-space  the  warp  must  occupy  during  the 
process  of  weaving,  compared  to  the  width  of  the  fabric  when  finished  (ready  for  the  consumer) 
is  regulated  by  the  raw  material  used,  the  manner  in  which  the  yarn  has  been  produced,  and  the 
different  processes  the  fabric  is  to  be  subjected  to  during  finishing. 

Some  kinds  of  woolen  fabrics  require  a  large  amount  of  fulling,  hence  must  be  "set"  wider 
in  the  loorn  than  fabrics  having  a  similar  material  for  their  basis  but  requiring  very  little  or  no 
fulling.  For  example,  billiard-cloth  must  be  "set"  nearly  twice  as  wide  in  the  loom  as  its  finished 
width,  while  beavers,  kerseys,  and  similar  woolen  fabrics  need  to  be  "set"  but  about  one-half 
their  finished  width  wider,  and  fancy  cassimeres  from  one-quarter  to  one-third.  Worsted  or 
worsted  and  cotton  dressgoods  mostly  require  but  very  little  wider  "setting"  in  the  loom  than  the 
finished  width  of  the  fabric  calls  for.  The  weave  itself  has  also  a  considerable  influence  in  regu- 
lating the  shrinkage. 

These  general  rules  are  worthy  of  consideration :  The  finer  the  quality,  and  the  softer  the 
filling  is  spun,  the  more  the  cloth  will  shrink  in  width.  If  the  filling  is  hard  twisted,  and  of  a 
coarse  nature,  the  cloth  will  have  but  little  tendency  to  shrink.  If  the  weave  has  a  wide  stitching, 
it  will  produce  a  narrower  fabric  than  when  the  texture  is  more  closely  intertwined.  The 
less  tension  put  on  the  warp  during  weaving  ("take-up")  the  narrower  the  fabric  will  be.  In 
comparing  woolen  and  worsted  yarn,  the  former  produces  fabrics  which  shrink  more  in  width 
than  fabrics  made  with  worsted  yarn.  This  result,  when  produced  from  the  same  raw  material,  is 
based  upon  the  two  different  processes  of  "carding"  or  "combing"  the  wool  fibre.  By  carding 
the  wool  every  fibre,  through  mixing  up  in  every  shape  and  direction,  is  twisted  in  itself,  and  such 
fibres  always  endeavor  to  resume  their  original  position.  By  worsted  combing  the  wool  fibres  are 
separately  united,  besides  being  combined  in  one  thread.  Each  fibre  is  its  own,  as  placed  in  posi- 
tion for  forming  the  thread,  and  thus  such  a  thread  remains  undisturbed  in  the  fabric.  The  fabric 
constructed  out  of  such  threads  will  keep  wider  than  if  using  a  wool-spun  yarn  of  equal  size  and 
under  equal  conditions. 

Shrinkage  or  Take-up  of  Warp  During  Weaving. 

We  must  also  carefully  consider  the  amount  of  take-up  the  warp  is  subjected  to  during 
weaving,  and  the  amount  of  shrinkage  in  length  the  cloth  undergoes  during  the  finishing  process. 
The  latter  point  will  not  come  into  consideration  in  the  case  of  fabrics  which  are  ready  for  the 
market  when  leaving  the  loom.  The  first  mentioned  shrinkage,  or  the  "  take-up "  of  the  warp 
during  weaving,  is   different,  and   varies   from   fabrics  requiring  two,  three,  four   or  more 


264 


times  the  length  in  dressing  than  the  fabric  length  woven,  to  fabrics  in  which  the  warp-length 
dressed  equals  the  fabric  length  woven  or,  if  any  difference,  to  be  very  little. 

The  points  given  in  the  previous  chapter  on  the  shrinkage  in  width  of  a  fabric  also  apply  to 
the  shrinkage  of  the  fabric  in  length.  The  ivan'c  and  the  number  of  picks  per  inch  are  the  chief  ob- 
ject in  regulating  tJie  take-tip  of  tlic  zvarp  during  weaving,  for  example,  a  fabric  interlaced  with  a  far 
stitching  satin  weave  (say  8  to  12  harness)  will  "take-up"  very  little  if  any  at  all,  unless  we  use  an 
unusually  high  texture  of  warp  and  filling.  Thus,  the  oftener  a  warp-thread  intersects  the  filling 
in  a  given  distance  the  greater  the  amount  of  take-up  required  for  the  warp.  For  this  reason 
fabrics  which  have  two  systems  of  weaves  combined — suppose  i-inch  wide  plain  weave 
to  alternate  with  a  2-inch  wide  8-harness  satin  =  3  inches  repeat,  10  repeats  in  width  of  fabric — re- 
quire two  beams — one  beam  to  carry  the  warp  for  weaving  the  plain,  and  one  beam  for  carrying  the 
warp  for  weaving  the  satin.  This  also  applies  to  worsted  fabrics  made  with  woolen  back-warps. 
The  amount  of  shrinkage  in  warp  pile  fabrics  for  its  pile-warp  is  considerable.  It  is  regulated  by 
the  height  of  pile  required  and  the  amount  of  wires  or  loops  per  inch.  Such  fabrics  may  often 
require  their  pile-warp  dressed  four  to  eight  times  longer  than  the  piece  measures  woven.  To 
ascertain  the  exact  percentage  of  "  take-up"  for  a  fabric  needs  experience  and  can  only  be  mastered 
after  thorough  study  of  the  theory  of  constructing  the  different  weaves,  as  well  as  the  nature  of 
the  different  raw  materials,  with  their  various  methods  of  preparations  for  the  yarns,  and  the  vari- 
ous processes  of  finishing. 

V.  Ascertaining  the  Arrangement  of  Threads  in  a  Sample,  According  to  their  Color 
and  their  Counts,  for  the  Warp  and  Filling. 

During  the  process  of  "picking  out"  a  fabric  sample,  it  will  be  advisable  to  indicate  on  the 
squared  designing  paper  near  each  filling-thread  as  picked  out,  its  color  or  general  remarks  as  to 

thickness,  twist,  etc.    Also,  to  indicate  the  colors  and  size  of  the 
I  warp-threads  as  found  in  the  sample  dissected.   (For  illustration  see 

^  Fig.  loi  2.)  By  proceeding  in  this  manner  it  will  be  found  that  after  a 

3  certain  number  of  successive  threads  in  warp  and  filling  have  been 

ti  .    ^  picked  out,  the  same  arrangement  of  using  threads  of  various  colors 

«g§g|=g|g  or  counts,  or  both  combined  in  the  sample,  repeats  over  again. 

g5n«in:";iiT:M^:Bi:~M~:p.^^  This  is  classified  as  the  "repeat  of  the  pattern."    All  repeats  of  a 

nManB«::iijj       ij^  pattern  must  be  similar  to  each  other;  thus,  if  we  place  two,  three  or 

SnS^^Snn5B55  "■■liiuck.  more  repeats  of  the  sample  above  each  other,  they  must  in  every 
■■IViUBSBBMnSaDMB: i'lirovvn.  instance  cover  itself  in  color,  size  or  counts  of  threads,  and  method 
Fig.  1012.  interlacing. 
Again,  if  a  number  of  these  repeats  are  placed  near  each  other  in  the  direction  of  the  warp 
and  filling,  they  must  connect.  If  patterns  are  found  not  to  contain  this  peculiarity,  or,  in  other 
u  ords,  "  do  not  repeat,"  they  must  be  arranged  so  as  to  have  this  peculiarity,  or  be  made  to  repeat. 

The  arrangement  of  the  warp  is  known  as  the  "dressing,"  while  the  arrangement  of  the  filling 
indicates  the  building  of  the  "box-chain"  in  practical  work. 

VI.  Ascertaining  the  Size  of  the  Yarns  (their  Counts)  Found  in  Sample,  and  the 

Amount  and  Direction  of  Twist. 

The  size  or  thickness  of  a  thread  is  ascertained  generally  by  comparing  the  picked  out  thread 
with  a  collection  of  yarns  of  the  same  material  and  of  a  known  size.  For  this  purpose  prepare 
a  collection  of  woolen,  worsted,  cotton  and  silk  yarns  most  commonly  used.  In  fabrics  requiring 
no  fulling,  or  only  a  very  little,  such  as  worsted  dress  goods,  etc  ,  weigh  a  small  sample  of  the 
threads  and  calculate  from  their  length  and  weight  the  size  of  the  yarn ;  but  as  a  general  rule  the 
first  given  method  will  be  found  quick,  correct  and  less  troublesome  to  the  designer.    Care  must 


265 


be  taken  to  compare  threads  of  which  the  counts  are  required  to  be  ascertained  with  samples  of 
threads  of  a  known  size,  which  have  previously  been  subjected  to  an  equal  amount  of  shrinkage 
by  "  fulling  "  etc.;  or,  if  such  a  thread  cannot  be  obtained,  compare  the  picked-out  thread  with  the 
standard  threads  of  a  similar  material,  but  take  into  consideration  the  process  the  first  mentioned 
thread  has  been  subjected  to  during  the  finishing  process  of  the  fabric  it  was  a  part  of. 

VII.    Ascertaining  the  Weight  of  Cloth  per  Yard  from  the  Loom. 

This  subject,  based  entirely  upon  results  obtained  by  previous  points,  forms  the  most  inter- 
esting work  m  the  analysis  of  cloth.  Whatever  the  size  of  sample  may  be  which  is  submitted  .for 
examination,  and  whatever  the  quantity  of  yards  of  cloth  to  be  produced,  the  weight  per  yard 
from  loom  will  form  the  standard  upon  which  future  calculations  in  manufacturing  must  be  based 
by  figuring  in  proportion.  After  knowing  the  number  of  threads  required  in  the  width  of  a 
fabric  submitted  for  analysis,  the  counts  of  the  respective  threads,  and  the  dressing  and  the  shrink- 
age of  the  warp  in  weaving,  it  will  be  easy  to  ascertain  the  weight  of  warp  yarn  required. 

Example  A.    Dressing:  4  threads  black,  4  run  woolen  yarn. 

2  "  blue,  4  " 
4     "      brown,  4  " 

10  threads  in  repeat. 

3,600  ends  in  full  warp,  6  per  cent,  shrinkage  or  take  up  of  warp  during  weaving. 

Required:  Find  weight  of  warp  yarn  of  each  kind  necessary  for  one  yard  of  the  woven 
fabric. 

100  —  6  =  94.    Thus  94  :  100  :  :  36  :  X  and  100  X  36  =  3600     94  =  38.3. 
Each  individual  thread  requires  38.3  inches  length  dressed  to  produce  36  inches  interwoven. 
Hence  3,600  X  38.3  =  137,880  inches  =  3,830  yards  of  warp  required  to  produce  one  yard  of 
the  woven  fabric  (plus  amount  of  filling  required). 

3,830  yards  4  run  yarn  equal  in  weight  9.575  oz  ,  ten  threads  repeat  of  the  pattern,  thus: 
9.575      10  =  0.9575  oz.  weight  in  proportion  for  each  thread,  consequently: 
4  threads  black  =  4  X  O.9575  =  3.830  oz.  per  yard. 
2      "       blue     =  2  X  0.9575  =  1.915   "  " 
4     "      brown  =  4  X  0.9575  =  3.830  " 

9.575  oz.  total  weight. 

Answer:  The  previously  given  example  requires 

3.83  oz.  4  run  black  warp  for  each  yard  woven, 
1.915  "   4  "  blue 
3.83    "  4  "  brown 

consequently  9.575  oz.  weight  of  complete  warp  in  one  yard  woven  (3,600  threads  4 
run  yarn,  six  per  cent,  take  up  of  warp). 

The  threads  used  are  not  always  of  the  same  counts.    Two,  three  or  more  different  sizes  of 
yarn  may  be  called  for  in  a  fabric.    If  such  is  the  case  first  ascertain  the  number  of  yards 
required  of  each  kind  and  next  their  weight.    Suppose  the  previously  given  example  read  as 
follows:    Example  B.  3,600  ends  in  warp — 6  per  cent,  shrinkage  of  warp  in  weaving. 
Dressing:  4  threads  brown  2.30s  worsted. 
2     "        blue  2.28s 
4     "        black    2.32s  " 

10  threads  repeat  of  pattern. 


266 


As  explained  in  previously  given  example,  36  inches  woven  equal  38.3  inches  dressed  by- 
allowing  six  per  cent,  take  up. 

3,600  ends  in  warp      by  10  threads  in  one  repeat  =  360  repeats  of  each  thread;  thus, 
4  threads  brown  2.30s  worsted  =  360  X  4  =  1,440  threads  [a). 
2      "       blue     2.28s       "      =  360  X  2  =     720      "  (i). 
4     "       black   2.32s       "      =  360  X  4  =  1,440     "  (c). 

10  threads  in  repeat.  3,6oo  threads  in  warp. 

a.  Brown,  requires  2.30s  worsted  =  8400  yards  to  i  lb. 
36  :   38.3  :  :  1440  :  x 

38.3  X  1440      36  =  1532  yards  of  2.30s  brown  worsted  required. 
8400  :  16  :  :  1532  :  x 

1532  X  16     8400  =  2.918  oz.  of  brown  2  30s  worsted  required  for  i  yard  cloth  woven. 

Blue,  calls  for  2.28s  worsted  =  7840  yards  to  i  lb. 
36  :  38.3  :  :  720  :  X 

38.3  X  720  ^  36  =  766  yards  of  2.28s  blue  worsted  required. 
7840  :  16  :  :  766  :  x 

766  X  16      7840  =  1.563  oz.  of  blue  2.28s  worsted  required  for  i  yard  cloth  woven. 
c.  Black  calls  for  2.32s  worsted  =z  8960  yards  to  I  lb.   The  number  of  threads  are  equal  to  a, 
thus:  1532  yards  of  2.32s  black  worsted  required. 
8960  :  16  :  :  1532  :  X 

1532  X  16  ^  8960  =  2.735  black  2.32s  worsted  required  for  i  yard  of  cloth  woven. 

Anszuer:  The  previously  given  example  requires  the  following  amount  of  yarns : 
Brown,  2.30s  worsted  =  2918  oz. 
Blue,     2.28s       "      =  1.563  " 
Black,  2.32s       "      =  2.735  " 

7.216  oz.  weight  of  complete  warp  in  i  yard  woven. 


TABLE  OF  RELATIVE  LENGTHS 

Of  Inches  Dressed  and  One  Yard  Woven,  with  Reference  to  a  "Take-up"  During 

Weaving,  for  1  per  cent,  to  50  per  cent. 


Per  cent,  of  take-up 
during  weaving. 

Number  of  inches  required 
dressed  to  produce  one  yard  or 
36  inches  woven. 

Per  cent,  of  take-up 
during  weaving. 

Number  of  inches  required 
dressed  to  produce  one  yard  or 
36  inches  woven. 

I 

36.36 

13 

41.38 

2 

36.73 

14 

41.86 

3 

37-11 

IS 

42.35 

4 

37-50 

16 

42.85 

5 

37.89 

17 

43-37 

6 

38-30 

18 

43.90 

7 

38.71 

19 

44.44 

8 

39-13 

20 

45.00 

9 

39-56 

25 

48.00 

10 

40.00 

30 

51-43 

II 

40.45 

40 

60.00 

12 

40.91 

50 

72.00 

The  next  point  for  ascertaining  the  weight  of  cloth  per  yard  from  the  loom  is  to  ascertain  the 
amount  of  filling  required for  one  yard. 

To  explain  this  subject  let  us  continue  the  example  previously  given  and  indicated  by  A, 
Suppose  those  3600  ends  require  72  inches  wide  setting  in  reed  (allowing  i  inch  for  width  of 


267 


selvage  on  each  side),  and  suppose  the  fiUing  found  used  in  sample  submitted  for  analysis  calls  for 
31^  run  black  woolen  yarn  and  52  picks  per  inch  in  loom. 

Question:  Find  amount  of  filling  required  for  weaving  one  yard. 

52  (picks)  X  72  (width)  =  3744  inches  filling  required  for  i  inch  of  cloth,  or  3744  yards  of 
filling  required  for  i  yard  of  cloth. 

3744  yards  of        run  filling  (3744  ^  35°)  =  10.697  oz. 

Anstuer :  10.697  oz.  filling  required  for  weaving  i  yard  cloth  in  the  present  example. 

If  two,  three  or  more  kinds  of  threads  of  various  counts  of  fillings  are  used,  ascertain  each 
kind  independent  of  the  other.  For  illustration  let  us  continue  example  B  as  previously  given 
for  ascertaining  the  warp. 

Suppose  the  width  of  fabric  (including  }^  inch  selvage  for  each  side)  calls  ,  for  64  inches  and 
the  arrangement  of  filling  for  6  picks  2.26s  black  worsted  and  for  6  picks  2.28s  brown  worsted 
=  12  picks  in  repeat  of  pattern  and  56  picks  per  inch  in  fabric. 

Question :  Find  the  amount  of  filling  required  for  weaving  I  yard. 

56  (picks)  X  64  (width)  =  3584  yards  of  filling  required  to  weave  I  yard  of  cloth. 

Thus:  3584  ^  2  =  1792  yards  2.26s  worsted  black  {a),  and  1792  yards  2.28s  worsted 
brown  {b),  the  filling  required  to  weave  i  yard  of  cloth. 

a.  2.26s  worsted  (=  7280  yards  to  i  lb.).    Thus:  1792  :  x  :  :  7280  :  16 
1792  X16  ^  7280  =  3.938  oz.  of  2.26s  black  worsted  required. 

b.  2.28s  worsted  (=  7840  yards  to  1  lb.).    Thus :  1792  :  x  :  :  7840  :  16 
1792  X  16  -r-  7840  =  3.657  OZ.  of  2.28s  brown  worsted  required. 

Answer:  3.938  oz.  of  2.26s  black  worsted.  ^ 
3.657  oz.  of  2.28s  brown  worsted. 

7.595  oz.  the  amount  of  filling  required  for  weaving  i  yard  of  cloth  in  the  present 
example. 

The  next  thing  to  be  ascertained  will  be  the  amount  of  selvage  threads  to  be  used,  and  their 
respective  weight. 

Suppose  example  A  calls  for  30  threads  2  run  (woolen  yarn)  for  selvage  for  each  side  of 
the  fabric,  thus  60  threads  for  complete  selvage. 

-f  6  per  cent,  take-up  =  63.82  yards  of  two  run  selvage,  equal  to  0.319  oz.  of  yarn  for  I 
yard  of  woven  cloth. 

For  example  B.  allow  30  threads  of  2.20s  worsted  for  selvage  on  each  side  of  the  fabric ;  thus 
60  threads  for  complete  selvage. 

+  6  per  cent,  take  up  =  63.82  yards  of  2.20s  worsted  =  0.182  oz.  of  yarn  for  I  yard  of 
woven  cloth. 

Example  A.  thus  requires  : 

9.575  oz.  warp  yarn, 
10.697  oz.  filling, 
0.319  oz.  selvage  threads. 

20.591  oz.  the  weight  of  I  yard  of  cloth  from  the  loom. 
Example  B.  thus  requires  : 

7.216  oz.  warp, 

7.595  oz.  filling, 

0.182  oz.  selvage  threads. 

14.993  oz.  the  weight  of  I  yard  of  cloth  from  the  loom. 
After  the  weight  of  I  yard  of  the  cloth  woven  is  ascertained  it  is  easy  to  calculate  the 
amount  of  yarn  required  for  i  piece  of  cloth  or  any  number,  by  simply  multiplying  the  weight 
per  yard  with  the  number  of  yards  required. 


268 


For  example :  Suppose  previously  given  example  A  to  be  applied  to  a  fabric  40  yards  "  from 
loom."    Thus : 

9.575  oz.  X  40  =  383      oz.  =  23  lbs.  15  oz.  warp  yarn, 
10.697  oz.  X  40  =  427.88  oz.  =  26  lbs.  1 1.88  oz.  filling  yarn, 
0.319  oz.  X  40  =    12.76  oz.  =    12.76  oz.  selvage. 

20.591  oz.  total,       51  lbs.  7.64  oz.  weight  for  i  piece  40  yards  long. 

Proof:  20.591  oz.,  weight  of  cloth  per  yard,  x  40.  number  of  yards  of  cloth  required,  equals 

823.64  oz.,      16  =  51  lbs.  7.64  oz. 

Suppose  the  previously  given  example  under  B  applied  to  the  following — 

Question:  Find  the  amount  of  yarn  required  for  producing  20  pieces,  each  50  yards  lon^ 

from  loom,  thus: 

20  pieces  X  50  yards  each  cut  =  1000  yards  of  cloth  required,  hence 
7.216  oz.  X  1000  =  7216  oz.  =  451  lbs. 
7.595  "  X  1000  =  7595  "  =  474  "    II  oz. 
0.182  "  X  1000=    182  "  =    II    "     6  " 

14.993  937  lbs.    I  oz.  weight  required  for  20  pieces, 

each  50  yards  long,  or  1000  yards  of  cloth  woven. 

Proof:  14.993  oz.  weight  per  yard  of  cloth  X  1000  (number  of  yards  of  cloth  woven) 
14993  oz.      16  =  937  lbs.  I  oz. 

VIII.    Ascertaining  the  Process  of  Finishing  Necessary  and  the  Amount  of  Shrinkage 

of  the  Fabric. 

The  shrinkage  of  a  fabric  during  finishing  is  regulated  by  the  amount  of  fulling  required. 
Woolen  fabrics,  and  especially  such  as  are  constructed  out  of  soft  spun  yarn,  shrink  more  than 
any  other  textile  fabric. 

In  arranging  the  width  of  a  fabric  for  weaving  ("setting"  in  reed)  we  must  calculate  the 
amount  of  shrinkage  of  the  fabric  on  the  loom  as  well  as  during  the  process  of  finishing.  The 
shrinkage  in  length  of  the  fabric  can  more  readily  be  regulated  during  the  finishing  process 
(fulling).  Worsted  fabrics,  which  require  no  fulling — only  scouring — shrink  very  little,  while 
cotton  goods,  which  require  only  calendering  or  pressing,  etc.,  do  not  lose  any,  and  may  possibly 
rather  gain,  in  length. 

During  the  process  of  carding  and  spinning,  oil,  water,  etc.,  are  taken  up  by  the  wool,  and 
during  dyeing  some  of  the  dye-stuff  will  remain  loo.sely  in  the  yarn.  These  substances  must  be 
removed  in  the  scouring  of  the  cloth;  therefore  we  must  allow  for  a  corresponding  loss  in  weight 
for  such  fabrics  from  their  relative  weight  in  the  loom  until  the  fabric  is  scoured. 

The  subsequent  processes,  such  as  gigging  and  shearing,  will  also  reduce  the  previous  loom 
weight  of  the  fabric.  Fabrics  requiring  none  of  these  processes  consequently  need  none  of  these 
considerations,  while  fabrics  requiring  a  starching,  calendering  or  flocking  may  even  gain  in 
weight  during  such  an  operation. 

The  shrinkage  of  fabrics  in  finishing  requires,  similar  to  the  two  different  widths  (width  of 
fabric  when  finished,  and  its  width  in  reed),  to  figure  in  two  different  lengths  during  calculations. 
a  the  length  of  the  cloth  from  loom,  b  its  finished  length.  It  will  be  easily  understood  that  when 
orders  are  given  for  a  certain  number  of  yards  from  a  buyer  or  the  commission  house,  they  con- 
sider the  number  of  yards  given  as  the  "finished  yards";  therefore  the  percentage  that  the  fabric 
shrinks  during  the  finishing  process  must  be  added  for  ascertaining  the  number  of  yards  required 
''from  loom','  or  woven.  Take-up  during  weaving  added,  will  give  us  a  third  length,  or  the  length 
of  warps  dressed,  while  the  shrinkage  of  a  fabric  in  finishing  regulates,  as  previously  mentioned, 
the  width  of  the  fabric  in  loom,  in  addition  to  the  width  of  the  finished  fabric. 


269 


GRADING  OF  THE  VARIOUS  YARNS  USED  IN  THE  MANUFACTURE  OF 
TEXTILE  FABRICS  ACCORDING  TO  SIZE  OR  COUNTS. 

The  sizes  of  the  yams,  technically  known  as  their  counts  or  numbers,  are  based  for  each 
different  raw  material  upon  the  number  of  yards  necessary  to  balance  i  lb.  (avoirdupois),  conse- 
quently the  higher  the  count  or  number  the  finer  the  yarn  according  to  its  diameter.  The  number 
of  yards  thus  necessary  to  balance  i  lb.  is  known  as  the  "  Standard  "  and  varies  accordingly  for 
each  material. 

I.   Cotton  Yarns. 

Cotton  yarns  have  for  the  standard  840  yards  (equal  to  i  hank)  and  are  graded  by  the 
number  of  hanks  i  lb.  contains.  Consequently  if  two  hanks,  or  2  X  840  yards  =  1680  yards, 
are  necessary  to  balance  i  lb.,  we  classify  the  same  as  number  2  cotton  yarn.  If  three  hanks,  or 
3  X  840  yards  =  2520  yards,  are  necessary  to  balance  i  lb.,  the  thread  is  known  and  classified 
as  number  3  cotton  yarn.  Continuing  in  this  manner,  always  adding  840  for  each  successive 
number,  it  gives  us  the  number  of  yards  the  various  counts  of  yarn  contain  for  I  lb. 

Tabic  for  Lengths  of  Cotton  Yarns. 


I  From  number  i  to  240s.  1 


No. 

Yds.  to  I  lb. 

No. 

Yds.  to  1  lb. 

No. 

Yds.  to  I  lb. 

No. 

j  Yds.  to  I  lb. 

I 

840 

25 

21,000 

49 

41,160 

73 

61,320 

2 

1,680 

26 

21,840 

50 

42,000 

74 

62,160 

3 

2,520 

27 

22,680 

51 

42,840 

75 

63,000 

4 

3,360 

28 

23,520 

52 

43,680 

76 

63,840 

5 

4,200 

29 

24,360 

53 

44,520 

77 

64,680 

6 

5,040 

30 

25,200 

54 

45-360 

78 

65,520 

7 

5,Sbo 

31 

26,040 

55 

46,200 

79 

66,360 

8 

6,720 

32 

26,880 

56 

47,040 

80 

67,200 

9 

7,560 

33 

27,720 

57 

47,880 

85 

71,400 

10 

<s,4f'0 

34 

28,560 

58 

48,720 

90 

75,600 

II 

9,240 

35 

29,400 

59 

49.560 

95 

79,800 

12 

10,080 

36 

30, 240 

60 

50,400 

100 

84,000 

13 

10,920 

37 

31,080 

61 

51,240 

no 

92,400 

14 

11,760 
12,600 

38 

31,920 

62 

52,080 

120 

100,800 

15 

39 

32,760 

63 

52,920 

130 

109, 200 

16 

13.440 

40 

33,600 

64 

53,760 

140 

117,600 

17 

14,280 

41 

34,440 

65 

54,600 

150 

126,000 

18 

15,120 

42 

35,280 

66 

55,440 

160 

134,400 

19 

15,960 

43 

36, 120 

67 

56,280 

170 

142,800 

20 

16,800 

44 

36,960 

68 

57,120 

180 

151,200 

21 

17,640 

45 

37,800 

69 

57,960 

igo 

159,600 

22 

18,480 

1  46 

38,640 

70 

58,800 

200 

168,000 

23 

19,320 

47 

39,480 

71  1 

59,640 

220 

184,800 

24 

20,160 

:  48 

40,320 

72 

60,480 

240 

201,600 

Cotton  yarns  are  frequently  manufactured  into  2-ply.  In  such  cases  the  number  of  yards 
required  for  i  lb.  is  one-half  the  amount  called  for  in  the  single  thread. 

For  example:  20s  cotton  yarn  (single)  equals  16,800  yards  per  pound,  while  a  2-ply  thread 
of  20s  cotton,  technically  indicated  as  2.20s  cotton,  requires  only  8,400  yards,  or  equal  to  the 
amount  called  for  in  single  los  cotton  (technically  represented  as  los  cotton). 

If  the  yarn  be  more  than  2-ply,  divide  the  number  of  yards  of  single  yarn  in  the  required 
number  by  the  number  of  ply. 


270 


Rule  for  Finding  the  Weight  in  Pounds  of  a  Given  Number  of  Yards  of  Cotton 

Yarn  of  a  Known  Count. 

Divide  the  given  yards  by  the  number  of  yards  of  the  known  count  required  to  balance  i  lb. 
Example  (single  yarn). — Find  weight  of  1,260,000  yards  of  30s  cotton  yarn. 

303  cotton  yarn  =  25,200  yards  to  l  lb.    Thus  1,260,000  ^  25,200  =  50. 
Answer:  1 ,260,000  yards  of  30s  cotton  yarn  weigh  50  lbs. 
Example  (2-ply  yarn). — Find  weight  of  1,260,000  yards  of  2.30s  cotton  yarn. 

2.30s  cotton  yarn  =  12,600  yards  to  l  lb.    Thus  1,260,000  ^  12,600  =  lOO. 
Answer:  1,260,000  yards  of  2.30s  cotton  yarn  weigh  100  lbs. 

Rule  for  Finding  the  Weight  in  Ounces  of  a  Given  Number  of  Yards  of  Cotton 

Yarn  of  a  Known  Count. 

Multiply  the  given  yards  by  16  and  divide  result  by  the  number  of  yards  of  the  known 
count  required  to  balance  i  lb. 

Example  (single  yarn). — Find  weight  of  12,600  yards  of  30s  cotton  yarn. 
12,600  X  16  =  201,600.    I  lb.  30s  cotton  yarn  =  25,200  yards.    Thus  201,600     25,200  —  8. 

Answer:  12,600  yards  of  30s  cotton  yarn  weigh  8  oz. 

Example  (2-ply  yarn). — Find  weight  of  12,600  yards  of  2.30s  cotton  yarn. 
12,600  X  16  =  201,600.     I  lb.  2.30s  cotton  yarn  =  12,600  yards.  Thus  201,600      l2,6oo  =16. 

Answer:  12,600  yards  of  2.30s  cotton  yarn  weigh  16  oz. 

II.  Woolen  Yarns — "Run"  System. 

Woolen  yarn  is,  with  the  exception  of  the  mills  in  Philadelphia  and  vicinity,  graded  by  the 
"  runs,"  which  have  for  their  standard  1600  yards.  Consequently  i  run  yarn  requires  1600 
yards  to  i  lb.;  2  run  yarn,  3200  yards  to  i  lb.;  3  run  yarn,  4800  yards  to  i  lb.,  etc.,  always 
adding  1600  yards  for  each  successive  run.  In  addition  to  using  whole  numbers  only  as  in  the 
case  of  cotton  and  worsted  yarn,  the  run  is  divided  into  halves,  quarters  and  occasionally  into 
eighths,  hence 


200  yards  equal 

run. 

400     "  " 

% 

a 

600  " 

ti 

800  " 

n 

1000      "  " 

n 

1200      "  " 

% 

n 

1400      "  " 

« 

1600  " 

I 

"  etc. 

The  run  basis  is  very  convenient  for  textile  calculations  by  reason  of  the  standard  number 
equalling  lOO  times  the  number  of  ounces  that  one  lb.  contains.  By  simply  multiplying  the  size 
of  a  yarn  given  in  "  run  "  counts  by  100  and  dividing  the  result  into  the  number  of  yards  given 
(for  which  we  have  to  find  the  weight)  gives  us  as  the  result  the  weight  expressed  in  ounces. 

Example:  Find  the  weight  of  7,200  yards  of  4  run  yarn. 

4  X  100  =  400. 
7,200  -=-  400  =  18. 

Answer:  7,200  yards  4-run  yarn  weigh  18  oz. 

Question:  Find  weight  of  3,750  yards  of  3^  run  yarn. 

Answer :  3,750      375  =  10  oz. 

If  the  weight  of  a  given  number  of  yards  and  of  a  given  size  of  woolen  yarn,  run  system, 
is  required  to  be  calculated  in  pounds,  transfer  the  result  obtained  in  ounces  into  pounds  or  frac- 
tions thereof 


271 


Table  for  Lengths  of  Woolen  Yarns  (^Run  basis)  from  One-fourth  Run  to  Fifteen  Run. 


Run. 

Yds.  to  I  lb. 

Run. 

Yds.  to  I  lb. 

Run. 

Yds.  to  1  lb. 

M 

400 

4 

6400 

iH 

12400 

800 

A  1/ 

6800 

8 

12800 

1200 

7200 

I'^200 

I 

1600 

7600 

8K 

13600 

2000 

5 

8000 

8^ 

14000 

2400 

8400 

9  , 

14400 

2800 

5K 

8800 

15200 

2 

3200 

5^ 

9200 

10 

16000 

2X 

3600 

6 

9600 

16800 

2^ 

4000 

(>% 

10000 

II 

17600 

2?< 

4400 

eVz 

10400 

iiK 

18400 

4800 

6U 

10800 

12 

19200 

\y. 

5200 

7 

1 1 200 

13 

20800 

3^ 

5600 

7X 

1 1600 

14 

22400 

31^ 

6000 

12000 

15 

24000 

III.    Woolen  Yarn  — "Cut"  System. 

As  previously  mentioned,  woolen  yarn  is  also  graded  by  the  "cut"  system. 
300  yards  is  the  basis  or  standard,  consequently  if 

300  yards  of  a  given  woolen  yarn  weigh  i  lb.,  we  classify  it  as  i  cut  yarn; 

600    "         "      "         "         "        "      I   "    "       "        "    2  " 


and  so  on,  hence  the  count  of  the  woolen  yarn  expressed  in  the  "cut,"  multiplied  by  300,  gives  as 
the  result  the  number  of  yards  of  respective  yarn  that  I  lb.  contains. 


Table  for  Lengths  of  Woolen  Yarns  {^Cut  Sysieni). 
(From  I  Cut  to  50  Cut  Yarn.) 


Cut. 

Yards  to  lb. 

Cut. 

Yards  to  lb. 

Cut. 

Yards  to  lb. 

Cut, 

Yards  to  lb. 

I 

300 

13 

3.900 

25 

7,500 

37 

11,100 

2 

600 

14 

4,200 

26 

7,800 

38 

11,400 

3 

900 

15 

4,500 

27 

8, 100 

39 

11,700 

4 

1,200 

16 

4,800 

28 

8,400 

40 

12,000 

5 

1,500 

17 

5,100 

29 

8,700 

41 

12,300 

6 

1,800 

18 

5,400 

30 

9,000 

42 

12,600 

7 

2, 100 

19 

5.700 

31 

9.300 

43 

12,900 

8 

2,400 

20 

6,000 

32 

9.600 

44 

13,200 

9 

2,700 

21 

6,300 

33 

9,900 

45 

13,500 

10 

3,000 

22 

6,600 

34 

10,200 

46 

13,800 

1 1 

3.300 

23 

6,900 

35 

10,500 

48 

14,400 

12 

3,600 

24 

7,200 

36 

10,800 

50 

15,000 

Rule  for  Finding  the  Weight  in  Ounces  for  a  Given  Number  of  Yards  of  Woolen 

Yarn,  Figured  by  the  "Cut"  Basis. 

This  rule  is  similar  to  the  one  given  for  cotton  yarn.  Multiply  the  given  yards  by  16  and 
divide  the  result  by  the  original  number  of  yards  for  the  given  "count"  of  cotton  yarn  that  I  lb. 
contains. 

Example. — Find  weight  for  12,600  yards  of  40-cut  woolen  yarn. 
I2,6ooX  16=201,600.    I  lb.  of  40-cut  woolen  yarn=  1 2,000  yards.   Thus  20 1,600 -f- 12,000=16.8. 
Answer:  x 2,600  yards  of  40-cut  woolen  yarn  weigh  16.8  oz. 


272 


Rule  for  Finding  the  Weight  in  Pounds  of  a  Given  Number  of  Yards  of  Woolen 

Yarn,  Graded  by  the  "Cut"  Basis. 

This  rule  is  also  similar  to  the  one  previously  given  for  cotton  yarn.  Divide  the  given  yards 
by  the  original  number  of  yards  for  the  given  "count"  of  woolen  yarn  (cut  basis)  in  i  lb.  The 
result  expresses  the  weight  in  pounds  or  fractions  thereof. 

Example. — Find  weight  of  1,260,000  yards  of  40-cut  woolen  yarn. 

40  cut  woolen  yarn  =  12,000  yards  to  i  lb.    Thus  1,260,000  -r-  12,000  =  105. 

Anstuer:  1,260,000  yards  of  40-cut  woolen  yarn  weigh  105  lbs. 

IV.    Worsted  Yarns. 

Worsted  .yarns  have  for  their  standard  measure  560  yards  to  the  hank.  The  number  of 
hanks  that  one  pound  requires  for  balancing  indicate  the  number  or  count  by  which 
it  is  graded.  Hence,  if  40  hanks,  each  560  yards  long,  are  required  to  equal  one  pound  in  weight, 
such  a  yarn  is  known  as  40s  worsted.  If  48  hanks  are  required,  it  is  known  as  48s  worsted,  etc. 
In  this  manner  is  found  the  number  of  yards  for  any  size  or  count  of  worsted  yarns  by  simply 
multiplying  the  number  by  560. 

Worsted  yarn  is,  like  cotton  yarn,  produced  very  frequently  in  2-ply.  If  such  is  the  case, 
only  one-half  the  number  of  yards  are  required  to  balance  the  pound.  Hence,  40s  worsted 
(technically  for  single  40s  worsted)  requires  22,400  yards  per  pound,  and  2.80s  worsted  (techni- 
cally for  two-ply  80s  worsted)  requires  also  22,400  yards  per  pound. 

If  the  yarn  be  more  than  2-ply,  divide  the  number  of  yards  of  single  yarn  in  the  required 
number  by  the  number  of  ply. 


Table  showing  the  Number  of  Yards  of  Worsted  Yarn  to  the  Pound,  eitlicr  Single  or  Two-ply,  in 

a7iy  Count  not  exceeding  200. 


No. 

Yds.  Single 
Thread. 

Or, 

Yds.  Two-Ply. 

No. 

Yds.  Single 
Thread. 

Or, 

Yds.  Two-Ply. 

I 

560 

280 

54 

30,240 

15,120 

2 

1,120 

i  i 

560 

56 

31.360 

15,680 

4 

2,240 

3,360 

1,120 

58 

32,480 

16,240 

6 

1,680 

60 

33,600 

16,800 

8 

4,480 

•2,240 

62 

34,720 

17.360 

10 

5,600 

2,800 

64 

35,840        !  " 

17,920 

12 

6,720 

<< 

3,360 

66 

36,960 

18,480 

14 

7,840 

(1 

3,920 

68 

38,080 

19,040 

16 

•  8,960 

{  ( 

4,480 

70 

39,200 

19,600 

18 

10,080 

( ( 

5,040 

72 

40,320 

20,160 

20 

11,200 

ii 

5,600 

74 

41,440 

20,720 

22 

12,320 

n 

6, 160 

76 

42,560 

21,280 

24 

13,440 

6,720 

78 

43,680 

21,840 

26 

14,560 

ti 

7,280 

80 

44,800 

22,400 

28 

15,680 

1  i 

7,840 

82 

45,920 

22,960 

30 

16,800 

8,400 

84 

47,040 

23,520 

32 

17,920 

^^ 

8,960 

86 

48, 160 

24,080 

34 

19,040 

it 

9,520 

88 

49, 280 

24,640 

36 

20, 1 60 

(( 

10,080 

90 

50,400 

25,200 

38 

21,280 

t( 

10,640 

92 

51,520 

25,760 

40 

22,400 

(t 

11,200 

94 

52,640 

26,320 

42 

23.520 

(( 

1 1 , 760 

96 

53,760  ; 

26,880 

44 

24,640 

(( 

12,320 

98 

54,8So 

27,440 

46 

25,760 

tt 

12,880 

100 

56,000 

28,000 

48 

26,880 

( ( 

13,440 

150 

84.000 

42,000 

50 

28,000 

( ( 

14  000 

200 

112,000 

56,000 

52 

29, 120 

14,560 

273 


Rule  for  Finding  the  Weight  in  Ounces  of  a  Given  Number  of  Yards  of  Worsted 

Yarn. 

Multiply  the  given  yards  by  i6,  and  divide  the  result  by  the  number  of  yards  the  given 
"  count "  of  worsted  yarn  contains  balancing  i  pound. 
Example:  (Single  worsted). 

Find  weight  for  12,600  yards  of  40s  worsted. 

12,600  X  16=201,600. 
I  lb.  of  40s  worsted  =  22,400  yards,  thus: 
201 ,600 22,400  =  9. 
Answer : — 12,600  yards  of  40s  worsted  weigh  9  ounces. 

Question:    (2-ply  worsted). — Find  weight  for  12,600  yards  of  2.40s  worsted. 

12,600  X  16  =  201,600. 
lb.  of  2.40s  worsted  =  11,200  yards.    Hence,  201,600      11,200  =  18. 
Answer — 12,600  yards  of  2-4OS  worsted  weigh  18  ounces. 

Rule  for  Finding  the  Weight  in  Pounds  of  a  Given  Number  of  Yards  of  Worsted 

Yarn  of  a  Known  Count. 

Divide  the  given  yards  by  the  number  of  yarns  of  the  known  count  required  to  balance 
I  pound. 

Example.    (Single  yarn). 

Question: — Find  the  weight  of  1,260,000  yards  of  40s  worsted  yam. 

40s  worsted  =  22,400  yds.  to  i  lb.    Thus,  1,260,000      22,400  =  56%^  lbs. 
A7tstver: — 1,260,000  yds.  of  40s  worsted  yarn  weigh  5634^  lbs. 

Question:    (2-ply  yarn). — Find  the  weight  of  1,260,000  yds.  of  2.40s  worsted  yarn. 

2.40s  worsted  =  11,200  yds.  to  I  lb.   Thus,  1,260,000-=-  11,200=  li2]4. 
Answer: — 1,260,000  yds.  of  2.40s  worsted  yarn  weigh  1 12^  lbs. 

V.  Silk. 

A.  Spun  Silks. — Spun  silks  are  calculated  as  to  the  size  of  the  thread,  on  the  same  basis  as 
cotton  (840  yards  to  one  hank,  and  the  number  of  hanks  one  pound  requires  indicate  the  counts). 

In  the  calculation  of  cotton,  woolen  or  worsted,  double  and  twi.st  yarn,  the  custom  is  to  con- 
sider it  the  .same  as  twice  as  heavy  as  single;  thus  double  and  twisted  40s  worsted  (technically  2.40s 
worsted)  equals  single  20s  worsted  for  calculations.  In  the  calculation  of  spun  silk  the  single 
yarn  equals  the  two-fold;  thus  single  40s  and  two-fold  40s  (40.2s)  require  the  same  number  of 
hanks  (40)  =  33,6oo  yards.  The  technical  expression  of  two-fold  in  spun  silk  is  also  corres- 
pondingly reversed  if  compared  to  cotton,  wool  and  worsted  yarn..  In  cotton,  wool  and  worsted 
yarn  the  2  indicating  the  two-fold  is  put  in  front  of  the  counts  indicating  the  size  of  the  thread 
(2.40s),  while  in  indicating  spun  silk  this  point  is  reversed  (40.2s),  or  in  present  example  single  80s 
doubled  to  40s. 

B.  Raw  Silks. — The  adopted  custom  of  specifying  the  size  of  silk  yarns  is  in  giving  the 
weight  of  the  looo  yards  hank  in  drams  avoirdupois;  thus  if  one  hank  weighs  5  drams  it  is  tech- 
nically known  as  "  5  dram  silk,"  and  if  it  should  weigh  8^  drams  it  is  termed  "  8 dram  silk." 
As  already  mentioned  the  length  of  the  skeins  is  1000  yards,  except  in  fuller  sizes  where  1000  yard 
skeins  would  be  rather  bulky,  and  apt  to  cause  wa.ste  in  winding.  Such  are  made  into  skeins  of 
500  and  250  yards  length,  and  their  weight  taken  in  proportion  to  the  1000  yards ;  thus,  if  the 
skein  made  up  into  500 yards  weighs  8^  drams,  the  silk  would  be  17  dram  silk;  if  a  skein  made 


274 


up  into  250  yards  weighs  4  drams,  the  silk  would  be  16  dram  silk.  The  size  of  yarns  is  always 
given  for  their  "gum"  weight;  that  is,  in  their  condition  before  dyeing. 

Previous  to  being  dyed  silk  yarns  are  subjected  to  "  boiling  off,"  a  process  taking  out  the 
gum  or  sahva  which  the  silk  worm  spins  into  the  single  thread.  In  this  "boiling  off"  yarns  lose 
from  24  to  30  per  cent  according  to  the  class  of  raw  silk  used  ;  China  silks  losing  the  most,  Eu- 
ropean and  Japan  silks  the  least. 

The  following  table  shows  the  number  of  yards  to  the  pound  and  ounce  from  i  dram  silk  to 
30  dram  silk.  The  number  of  yards  given  per  pound  in  the  table  is  based  on  a  pound  of  gum 
silk. 

Length  of  Gum  Silk  Yarn  per  Pound  mid  per  Ounce. 


Drams  per 

Yards 

Yards 

Drams  per 

Yards 

Yards 

Drams  per 

Yards 

Yards 

1000  yards. 

per  lb. 

per  oz. 

1000  yards. 

per  lb. 

per  oz. 

1000  yards. 

per  lb. 

per  oz. 

I 

256,000 

16,000 

51,200 

3,200 

16 

16,000 

1,000 

204,800 

12,800 

I'A 

46,545 

2,909 

17 

15,058 

94 1 

170,666 

10,667 

6 

42,667 

2,667 

18 

14,222 

889 

146,286 

9,143 

6/2 

39,385 

2,462 

19 

13,474 

842 

2 

1 28,000 

8,000 

7 

36,571 

2,286 

20 

I2,S00 

800 

2^ 

113-777 

7,111 

34,133 

2,133 

21 

12,190 

762 

2^ 

102,400 

6,400 

8 

32,000 

2,000 

22 

11,636 

727 

93.091 

5,818 

ZVz 

30,118 

1,882 

23 

11,130 

696 

3 

85-333 

5,333 

9  , 

28,444 

1,778 

24 

10,667 

666 

3^ 

78,769 

4,923 

9^ 

26,947 

1,684 

25 

10,240 

640 

3K 

73,143 

4,571 

10 

25,600 

1,600 

26 

9,846 

615 

3^ 

68,267 

4,267 

II 

23,273 

1,455 

27 

9,481 

592 

4 

64,000 

4,000 

12 

21,333 

1,333 

28 

9,143 

571 

^% 

60,235 

3.765 

13 

19,692 

1,231 

29 

8,827 

551 

aVz 

56,889 

3.556 

14 

18,286 

1,143 

30 

8,533 

533 

53,368 

3,368 

15 

17,067 

1,067 

RULES    FOR    FINDING    THE    EQUIVALENT    COUNTS    OF    A  GIVEN 

THREAD  IN  ANOTHER  SYSTEM. 


A.    Cotton,  Woolen  and  Worsted  Yarn. 

Rule:  The  counts  of  a  given  thread  are  to  the  counts  of  an  equal  thread  (in  size)  ot  a 
different  material,  or  a  thread  of  the  same  material  but  figured  after  a  different  ''standard"  in  the 
same  proportion  as  the  "standard  number"  of  the  one  to  be  found  is  to  the  "  standard  number" 
of  the  one  given. 

Example  i.    Cotton — Worsted.    Find  equal  size  in  worsted  yarn  to  21s  cotton. 

Cotton  standard  :  Worsted  standard. 
840  :  560  =  3  :  2. 

Thus,  3  :  2  :  ;  X  :  21. 

3  X  21  =  63  ^  2  =  ixy^. 

Answer :  A  thread  of  21s  cotton  equals  (in  size)  a  thread  of  31  worsted. 
Example  2.    Cotton — Wool  (run  system).    Find  equal  size  in  woolen  yarn  (runs)  to  los 
cotton. 

Cotton  standard  :  Run  standard. 

840  :        1600  =  21  :  40. 

Thus,  21  :  40  :  :  X  :  10. 
21  X  10  =  210  H-  40  =  514^. 
Answer:  A  thread  of  los  cotton  equals  (in  size)  a  thread  of  5  14^-run  (wool). 


275 


Example  3.  Cotton — Wool  (cut  system).  Find  equal  size  in  woolen  yarn  (cut  basis)  to 
los  cotton. 

Cotton  standard  :  Cut  standard. 
840  :      300  =  14  :  5. 

Thus,  14  :  5  :  :  X  :  10. 
14  X  10  =  140      5  =  28. 
Answer:  A  thread  of  los  cotton  equals  (in  size)  a  thread  of  28  cut  (wool). 
Example  4.    Worsted — Wool  (run  system).    Find  equal  size  in  woolen  yarn  (run  basis)  to 
20s  worsted. 

Worsted  standard  :  Run  standard. 

560  :      1600  =  7  :  20. 

Thus,  7  :  20  :  :  X  :  20. 
7  X  20  =  140  -f-  20  =  7. 
Answer:  A  thread  of  20s  worsted  equals  (in  size)  a  thread  of  7  run  (wool). 
Example  5.    Worsted — Wool  (cut  system).    Find  equal  size  in  woolen  yarn  (cut  basis)  to 
15s  worsted. 

Worsted  standard  :  Cut  standard. 

560  :     300  =  28  :  15. 

Thus,  28  :  15  :  :  X  :  15. 
28  X  15  =  420      15  =  28. 
Answer :  A  thread  of  15s  worsted  equals  (in  size)  a  thread  of  28  cut  (wool). 
Example  6.    Worsted — Cotton.    Find  equal  size  in  cotton  to  30s  worsted. 

2  :  3  :  :  X  :  30  =  60  ^  3  =  20. 

Answer : — A  thread  of  30s  worsted  equals  (in  size)  a  thread  of  20s  cotton. 
Example  7.    Woolen  Yarn.    Run  System — Cut  System.    Find  equal  size  in  the  cut  basis 
of  a  6-run  thread. 

16  :  3  ::  x  :  6  =  96  ^  3  =  32. 
Answer : — A  6-run  woolen  thread  equals  (in  size)  a  32  cut  thread  of  the  same  material. 
Example  8.    Woolen  Yarn.     Cut  System — Run   System.     Find  equal  size  in  the  run 
basis  of  a  32-cut  woolen  thread. 

3  :  16  :  :  X  :  32  =  96  ^  16  =  6 

Answer: — A  32-cut  woolen  thread  has  for  its  equal  in  size  a  6-run  thread  of  the  same 
material. 

B".    Spun  Silk  Compared  to  Cotton,  Woolen,  or  Worsted  Yarn. 

The  basis  of  spun  silk  is  the  same  as  that  of  cotton.  Therefore,  the  rules  and  examples 
given  under  the  heading  of  "Cotton  "  refer  at  the  same  time  to  spun  silk. 

B%    Raw  Silk  Compared  to  Spun  Silk,  Cotton,  Woolen,  or  Worsted  Yarn. 

Rule. — Find  the  number  of  yards  per  pound  (on  table  previously  given)  in  raw  silk,  and 
divide  the  same  by  the  standard  size  of  the  yarn  basis  to  be  compared  with. 

Example  9.    Raw  Silk — Cotton.    Find  equal  size  in  cotton  yarn  to  9  dram  raw  silk. 

9  dram  raw  silk  =  28,444  yds.  per  lb.    Thus,  28,444      840  (cotton  standard)  =  338. 
Answer : — 9  dram  raw  silk  equals  nearly  34s  cotton. 

Example  10.    Spun  Silk  or  Cotton — Raw  Silk.    Find  equal  size  in  raw  silk  to  38s  cotton. 

38s  cotton  =  31,920  yds.  per  lb.  (38  X  840). 
Refer  to  table  for  raw  silk,  where  you  will  find  8  dram  per  lOOO  yards  gives  32,000  per  lb. 
Answer : — A  38s--cotton  thread  equals- (nearly)  an  8  dram  raw  silk  thread. 


276 


TABLE  OF  RELATIVE  LENGTHS. 


Of  Cotton  Yarns  by  Numbers  and  Woolen  Yarns  by  Runs. 

Taking  tlie  Number  as  a  Basis. 
840  yards  single  Cotton  Yarn  =  i  Number. 
1,600     "       "      Woolen   "    =1  Run. 


No.  I  Single  Cotton  Yarn  =    |J  Run  Single  Woolen. 


4 
5 
6 

7 

8 

9 

10 

II 
12 

>3 
14 


■^40 
,5 

5i 
72V 


No.  15  Single  Cotton  Yarn  =   ~l  Run  Single  Woolen. 


16 
17 
18 

19 
20 
21 
22 
23 
24 
25 
26 
28 
3" 


9217 

9  ST) 
I2/„ 

:I2| 

I3i! 
14/^ 


TABLE  OF  RELATIVE  LENGTHS 

Of  Cotton  Yarns  by  Numbers  and  Woolen  Yarns  by  Cuts. 

Taking  the  Number  as  a  Basis. 
S40  yards  single  Cotton  Yarn  =  i  Number. 
^00     "        "    Woolen  Yarn  =  i  Cut. 


No.  I  .Single  Cotton  Yarn 
2 
3 
4 
5 
6 

7 

S 

9 
10 
II 
12 
13 
14 


=  2I  Cut  Single  Woolen. 

^  5l  " 

8f  " 

.  iii  " 
14 

If*  " 

19!  "        "  " 

22§  " 

25i  " 
28 

sot  " 

33*  " 

36I  " 

39i  " 


N0.15  Single  Cotton  Yarn  ='42 

16.    "  "  "  =444 

17  "  "  "  =47! 

18  '•  "  "  =50! 

19  "  "  "  =53i 

20  "  "  "  =  56 

21  "  "  =581 

22  "  "  =  61  § 

23  "  "  "  =64! 

24  "  "  "  =671 

25  "  "  "  =  70 

26  "  "  "  =  72I 
28  "  "  "  =  78I 
30  "  "  "  =84 


Cut  Single  Woolen. 


TABLE  OF  RELATIVE  LENGTHS. 

Of  Cotton  Yarn  by  Numbers  and  Worsted  Yarn  by  Numbers. 

Taking  the  Cotton  Number  as  a  Basis. 
840  yards  Single  Cotton  Yarn  =  i  Number. 
560     "        "      Worsted  "    =1  Number. 


No.  I  Single  Cotton  Yarn 
2 

4 

6 

8 
10 
12 
14 
16 
18 
20 


No.  i}4  Single  Worsted. 

3 
6 

9 
12 

15 
18 

21  " 

24 
27 
30 


No.  22  Single  Cotton  Yarn  : 

24  "  "  "  : 

26  "  "  "  : 

28  "  "  "  : 

30  "  "  "  ■ 

32  "  "  "  : 

.34  "  "  "  : 

36  "  "  "  = 

38  "  "  "  = 

40  "  "  "  = 

42  "  "  "  : 


No.  33  Single  Worsted. 
36 
39 
42 

45 
48 

51 
54 
57 
60 

63 


277 


No.  44  Single  Cotton  Yarn  =  No.  66  Single  Worsted. 

69 

=  72 
^  75 
=  7S 
=.  81 
=  84 
=  87 
=  90 
=  95 


No.  64  Single  Cotton  Yarn  =  No.  96  Single  Worsted. 


66 
6S 
70 
72 

74 
76 
78 
80 

ICQ 


99 
102 

105 
108 
1 1 1 
I '4 
117 
120 
150 


TABLE  OF  RELATIVE  LENGTHS. 

Of  Woolen  Yarn  by  Runs  and  Cotton  Yarn  by  Numbers. 

Taking  the  Run  as  a  Basis. 
1600  Yards  Single  Woolen  Yarn  =  i  Run. 
840    "         "     Cotton  Yarn    =  i  Number. 


I     Run  Single  Woolen  Yarn  =  No.   i^f  Single  Cotton  Yarn. 


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278 


TABLE  OF  RELATIVE  LENGTHS 

Of  Woolen  Yarn  by  Runs  with  Woolen  Yarn  by  Cuts. 

Taking  the  Run  as  a  Basis. 
1600  yards  Single  Woolen  Yarn=i  Run. 


t    Run  Woolen  Yarn. 

"  " 

iH  "  " 
2 

"  " 

2H     "  " 

2H     "  " 

3         "  " 

3'X    "  " 

3'A    "  " 

"  " 

4 

4'X    "  " 

4/2    "  " 

4^    "  " 
5 

SK    "  " 

s'A  •'  " 

6 

6X    "  " 

S%    "  " 


300 


=1  Cut. 


=  sH  Cut. 

7 

7'X 

=  9'A 

7K 

=  10%  " 

7^ 

=  12  " 

8 

TTl/  " 

=  14/^ 

8>i 

=  16  " 

8^ 

T            I  /  II 

9 

=  18H 

9X 

=  20  " 

9>^ 

=  2lK  " 

9X 

=  22%  " 

10 

=  24  " 

=  26^/^  " 

=  28 

II 

=  29'A  " 

iiX 

=  30?^  " 

IIK 

=  32 

11^ 

=  33K  " 

12 

=  34K  " 

.  —  36  Cut 

=  zvA 
=  38?^ 
=  40 

=  4i>^ 
=  42j^ 
=  44 
.  =  45^ 
=  46^ 
=  48 
==49K 
=  505^ 
=  52 
=  53>^ 
=  54% 
=  56 
=  57)^ 
=  58% 
=  60 
=  61% 
=  62% 
=  64 


TABLE  OF  RELATIVE  LENGTHS. 

Of  Woolen  Yarn  by  Runs  and  Worsted  Yarn  by  Numbers. 

Taking  the  Run  as  a  Basis. 
1,600  yards  Single  Woolen  Yarn  =  i  Run. 


560 


RUN 

1  Single  Woolen  Yarn  =  No.  2^  Single  Worsted. 

2  "  "  "  =         5^  " 

3  "  "  "  =  8f  " 

4  "  "  "  =  iif  " 
4^  "  "  "  =  I2f  " 

5  "  "  "  =  14^  " 
5%  "  "  "  =  15  " 
5'A  "  "  "  =  15^  " 
5U  "  "  "  =  i6|-  " 

6  "  "  "  =  171  " 
6X  "  "  "  =  i7f  " 
6)4  "  "  "  =  i8f  " 
63/  '•  •'  "  =  i9f  " 

7  "  "  "  =  20  "  *' 
7'X  "  "  "  =  2o4 

jA  "  "  "  =  2i4  " 

714'  "  "  "  =  22i  " 

8  "  "  "  =  22f  " 

8^:  "  "  "  =  23f  " 

^'A  "  "  "  =  24f  " 

8^  «  "  «  _  25 


Worsted  Yarn  =  i  Number. 

RUN. 

9    Single  Woolen  Yarn  = 
9X 
9A 
9H 
10 

10% 
10% 

II 

nX 

iiA 

12 

I2X 
I2K 

13 

I3X 

i3>^ 
1314^ 
14 


No.  25f  Single  Worsted. 

26f 

27^  " 

27f 
28f 

29^  " 
30 

3of 

32}  " 

32f  " 

,,4       'I  I' 

33  r 

34f 

35 

35? 

36f  " 

37I  •' 

37?  " 

38*  " 

39?  " 

40  "  "• 


279 


TABLE  OF  RELATIVE  LENGTHS 

Of  Woolen  Yarn  Cuts  and  Cotton  Yarn  by  Numbers. 

Taking  the  "Cut"  as  a  Basis. 
300  yards  Single  Woolen  Yam  =  i  Cut. 
840    '•        "     Cotton      "     =1  Number. 
I  Cut  Single  Woolen  Yarn  =  No.       Single  Cotton  Yarn. 


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TABLE  OF  RELATIVE  LENGTHS 

Of  Woolen  Yarn  by  Cuts  and  Woolen  Yarn  by  Runs. 

Taking  the  "Cut"  as  a  Basis. 
300  yards  Single  Woolen  =  i  Cut. 
i6co     "        "         "       =1  Run. 


Cut  Single  Woolen  Yam 


=  T%  Run. 


6  Cut  Single  Woolen  Yarn 


'280 


II  Cut  Single  Woolen  Yarn  =  2^'^  Run. 


12 

.     .     .  =  2i 

13 

14 

H 

it 

.     .      .  =2g 

15 

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a 

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25 

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36  Cut  Single  Woolen  Yarn  =  6|  Run, 


37 

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TABLE  OF  RELATIVE  LENGTHS 

Of  Woolen  Yarn  by  Cuts  and  Worsted  Yarn  by  Numbers. 

Taking  the  Cut  as  the  Basis. 
300  yards  Single  Woolen  Yarn  =  i  Cut. 
560    "        "     Worsted  "    =1  Number. 


I  Cut  Single  Woolen  Yarn=No.        Single  Worsted. 


33  Cut  Single  Woolen  Yarn=No.        Single  Worsted. 


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281 


TABLE  OF  RELATIVE  LENGTHS 
Of  Worsted  Yarns  by  Numbers  and  Cotton  Yarns  by  Numbers. 

Taking  the  Worsted  Number  as  a  Basis. 
560  yards  Single  Worsted  Yarn  =  i  Number. 
840   "         "     Cotton      ''     =  I  Number. 

No.   I  Single  Worsted  Yarn  =  No.    yi  Single  Cotton  Yarn. 


2 

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86 

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57K 

tt 

t( 

U 

88 

58% 

it 

tt 

ti 

90 

<  ( 

60 

ti 

ft 

92 

(( 

tl 

61 '3 

ft 

it 

ti 

94 

1  ( 

62% 

it 

it 

tt 

96 

i  ( 

64 

t( 

98 

(( 

65.% 

It 

it 

te 

100 

66% 

it 

tt 

i< 

no 

( ( 

n 

73K 

tt 

tt 

u 

120 

t  < 

80 

tt 

tt 

130 

f  < 

86% 

ft 

u 

tt 

282 


TABLE  OF  RELATIVE  LENGTHS 

Of  Worsted  Yarn  by  Numbers  and  Woolen  Yarn  by  Runs. 

Taking  the  Number  as  a  Basis. 
560  yards  Single  Worsted  Yarn  =  i  Number. 
1600     "        "     Woolen     "    =1  Run. 

No.  I  Single  Worsted  Yarn  =     .1%  Run  Single  Woolen. 


2 

ii 

—      T  u 

(( 

4 

it 

it 

T  4 

(  ( 

6 

8 

f  f 

« 

i  i 
a 

i  I 
t( 

  ^  1 

  «  8 

(J" 

i  i 
it 

10 

if 

il 

<  ( 

=  -^A 

—  oio 

ii 

12 

« 

« 

rc 

T-  1  0 

il 

14 

it 

(  t 

(  ( 

ti  0 

(i 

16 

u 

<< 

(( 

i  i 

18 

« 

a 

(  ( 

i  ( 

20 

i( 

n 

—  7 

(( 

22 

<< 

(I 

n 

=  7tV 

t  ( 

24 

( ( 

ii 

=  81V 

26 

n 

=  9r'o 

28 

ti 

i( 

( ( 

=  9rV 

i  i 

30 

t  i 

ii 

(f 

32 

n 

ii 

=  iitV 

ii 

34 

i  i 

i  ( 

=  iiiV 

36 

a 

a 

=  "xV 

38 

i  ( 

il 

i  i 

40 

i  ( 

ii 

=  14 

42 

ff 

it 

=  i4iV 

44 

1  ( 

n 

=  i5r\ 

ft 

46 

1  ( 

ti 

=  i6Jj 

tt 

48 

it 

(( 

=  i6iV 

ti 

50 

( ( 

(C 

ti 

TABLE  OF  RELATIVE  LENGTHS 
Of  Worsted  Yarn  by  Numbers  and  Woolen  Yarn  by  Cuts. 

Taking  the  Number  as  a  Basis. 
560  Yards  Single  Worsted  Yarn  =  i  Number. 
300    "  "      Woolen  Yarn  =  i  Cut. 

No.    I  Single  Worsted  Yarn  =  Cut  Single  Woolen. 


2 

it 

  -It 

1  i 

tl 

4 

t( 

it 

tt 

=  7/r 

tt 

6 

ti 

=  "A 

tt 

tt 

8 

il 

ft 

=  i4[| 

tt 

it 

10 

tt 

it 

=  iS}-f 

tt 

tf 

12 

it 

t( 

tt 

=  22/5 

tt 

ft 

14 

tt 

=  26x^ 

tt 

16 

il 

=  2911 

tt 

ft 

18 

a 

tt 

tt 

=  33/5 

tt 

ti 

20 

tt 

*i 

=  37i'r 

t  t 

22 

it 

tf 

it 

=  4ItV 

24 

il 

ti 

=  44ii 

tt 

26 

=  48A 

tt 

tt 

28 

(t 

ti 

tt 

=  52/5 

tt 

tt 

30 

it 

tt 

n 

=  56 

tt 

32 

tt 

=  59^1 

tt 

tt 

34 

tt 

f 

=  63xV 

tt 

36 

it 

tt 

tt 

=  67tV 

l< 

38 

it 

ti 

it 

=  70}f 

tt 

tt 

40 

ft 

it 

(t 

=  74}? 

tt 

tf 

283 


YARN  CALCULATIONS. 

Ascertaining  the  Counts  of  Twisted  Yarns  Cotnposed  of  Two  or  more  -minor  Threads  of  which  the 

Counts  are  Known. 

I.  If  the  compound  thread  is  composed  of  two  minor  threads  of  equal  counts  and  material, 
the  compound  thread  is  one-hah'  the  count  of  the  minor. 

Example:  2.60s  cotton  =  single  30s  cotton  yarn. 
2.40s  worsted  =    "      20s  worsted. 

Double  and  twist  4-run  woolen  yarn  =  2-run  single  woolen  yarn. 
Double  and  twist  30-cut  woolen  yarn  =  15-cui:  single  woolen  yarn. 

II.  If  the  yarn  be  more  than  two-ply,  divide  the  given  counts  by  the  number  of  ply. 
Example  :  3.90s  cotton  =  90     3  =  single  30s  cotton  yarn. 

3.60s  worsted  =  60      3  =  single  20s  worsted,  etc. 

III.  If  the  compound  thread  is  composed  of  two  minor  threads  of  unequal  counts  but  the 
same  material,  the  rule  for  finding  the  equal  in  a  single  thread  as  compared  with  the  compound 
thread,  is  as  follows  : 

Divide  the  product  of  the  counts  of  the  minor  threads  by  their  sum. 

Example  A. — Find  the  equal  in  single  cotton  yarn  to  a  two-fold  cotton  thread  composed  of 
single  40s  and  60s. 

40  X  60  =2400      100  (40  +  60)  =  24. 
Answer:  A  two-fold  cotton  thread  composed  of  single  40s  and  60s  equals  a  single  24s 
cotton  yarn. 

Example  B. — Find  the  equal  in  a  single  worsted  thread  to  a  two-fold  worsted  thread 
composed  of  single  20s  and  30s. 

20  X  30  =  600  -=-  50  (20  +  30)  =  12. 
Anszver :  A  two-fold  worsted  thread  composed  of  single  20s  and  30s  equals  single  12s  worsted. 
Example  C. — Find  the  equal  counts  in  single  woolen  yarn  (run  basis)  for  a  double  and  twist 
thread  composed  of  single  3-run  and  6-run  woolen  yarn. 

3  X  6  =  18     9  (3  +  6)  =  2. 
Anszver :  A  3-run  and  6-run  woolen  thread  being  twisted  equals  a  single  2-run  woolen  thread. 
Example  D. — Find  the  equal  counts  in  single  woolen  yarn  (cut  basis)  for  a  double  and 
twist  thread  composed  of  single  20-cut  and  30-cut  yarn. 

20  X  30  =  600  H-  50  (20  +  30)  =  12. 
Anszver:  A  20-cut  and  30-cut  woolen  yarn  twisted  equals  single  12-cut  woolen  yarn. 

IV.  If  the  compound  thread  is  composed  of  two  minor  threads  of  different  materials,  one 
must  be  reduced  to  the  relative  basis  of  the  other  thread,  and  the  resulting  count  found  in  this 
system.    (See  tables  of  relative  lengths  given  on  page  276  to  282.) 

Example  A. — Find  the  equal  counts  in  a  single  worsted  thread  to  a  2-ply  thread  composed 
of  single  30s  worsted  and  single  40s  cotton  yarn. 

40s  cotton  =  60s  worsted.    Thus  30  X  60  =  1 800     90  (30  +  60)  =  20. 
Anszver:  Compound  thread  given  in  example  equals  a  single  20s  worsted  thread. 
Example  B. — Find  the  equal  counts  in  single  cotton  yarn  to  a  2-ply  thread  composed  of 
single  30s  worsted  and  40s  cotton  yarn. 

30s  worsted  =  20s  cotton.    Thus  40  X  20  =  800     60  (40  +  20)  =  133^. 
Answer:  Compound  thread  given  in  example  equals  a  single  cotton  thread  of  number  l^}^. 
Example  C. — Find  the  equal  counts  in  single  woolen  yarn  (run  basis)  to  a  2-ply  thread  com- 
posed of  single  20s  cotton  yarn  and  6-run  woolen  yarn. 

20s  cotton  —  io>^-run  woolen  yarn.    Thus  io}i  X  6  =  63  -h-  i6^  (lO^  +  6)  =  31T. 
Answer:  Compound  thread  given  in  example  equals  a  single  woolen  thread  of  3A  runs. 


2»i 

Example  D. — Find  the  equal  counts  in  single  woolen  yarn  (cut  basis)  to  a  2-ply  thread  com- 
posed of  single  40s  cotton  yarn  and  28-cut  woolen  yarn. 

40s  cotton  =112  cuts.    Thus  28  . X  112  =  3136  -h-  140  (28  +  112)  =  22t^. 
Answer:  Compound  thread  given  in  example  equals  a  single  woolen  yarn  of  221%  cuts. 

V.  If  the  compound  thread  is  composed  of  three  minor  threads  of  unequal  counts,  but  of 
the  same  material,  compound  any  two  of  the  mmor  threads  into  one  and  apply  previously  given 
Rule  III  to  this  so  compounded  thread  and  the  third  (minor)  thread  not  previously  used. 

Example  :  A  3-run,  6-run  and  8-run  thread  being  twisted  together,  what  are  the  equal 
counts  in  one  thread  of  the  compound  thread? 

3x6  =  18  —  9(3+6)  =  2.  (A  3-run  and  a  6-run  thread  compounded  equal  a  2-run 
single  thread.) 

Thus :  2  X  8  =  16      10  (2  +  8)  =  \h  =  if. 
Anszver  :  Compound  thread  given  in  example  equals  r?  run. 

Example:  A  20s,  30s  and  40s  worsted  being  twisted  together,  what  is  the  size  of  the 
three-fold  yarn  ? 

20  X  30  =  600  -r-  50  (20  +  30)  =  12.  (20s  and  30S  worsted  compounded  into  one  thread 
equal  single  12  worsted.) 

Thus:  12  X  40  =:  480     52  (12  +  40)  =  gh. 

VI.  If  the  compound  thread  is  composed  of  three  minor  threads  of  two  or  three  different 
materials,  they  must  by  means  of  their  relative  length  (see  tables  of  relative  length  given  on  pages 
276  to  282)  be  transferred  into  equal  counts  in  one  basis,  and  afterwards  find  the  size  of  the  com- 
pound thread  by  Rule  V. 

Example  :  Find  equal  counts  in  single  woolen  yarn,  "  run  "  basis,  for  the  following  compound 
thread  :  A  3-run,  a  6-run  woolen  thread,  and  a  single  20s  cotton  twisted  together. 
20's  cotton  equals  lo^-run.    3X6  =  18-^-9(3  +  6)=  2. 
(3-run  and  6-run  threads  compounded  equal  a  single  2-run  thread.) 

Thus,  2  X  10%  =  21      I2>^  (2  +  iQi^)  =  ill. 
Answer.    The  three-fold  thread  given  in  example  equals  in  counts  a  single  woolen  yarn  of  I25 
(nearly  i^)  run. 

By  means  of  the  rules  and  explanations  given  it  will  be  easy  to  ascertain  the  equal  counts 
in  a  single  thread  for  a  two  or  three-ply  thread,  composed  of  yarns  of  the  same  basis,  as  well  as 
compound  threads  constructed  of  different  materials. 

VII.  Rule  for  ascertaining  the  counts  of  a  thread  required  to  produce  with  a  given  single 
thread  a  two-fold  thread  of  which  the  compound  size  is  known. 

Multiply  the  counts  of  the  given  single  thread  by  the  counts  of  the  compound  thread  and 
divide  the  product  by  the  remainder,  obtained  by  substracting  the  counts  of  the  compound  threads 
from  the  counts  of  the  given  single  thread. 

Example  A. — Question:  Find  size  of  single  yarn  required  (run  basis)  to  produce  with  a 
4-run  woolen  yarn  a  compound  thread  of  3-run. 

4  X  3  =  1 2  ^  I  (4  ~  3)  =  1 2. 

Answer:  The  minor  thread  required  in  the  present  example  is  a  1 2-run  thread,  or  a  4-run 
and  a  1 2-run  woolen  thread  compounded  into  a  2-fold  yarn,  equal  in  counts  to  a  3-run  single 
woolen. 

Example  B. — Question:  Find  size  of  single  yarn  required  (worsted  numbers)  to  produce 
with  a  48's  worsted  thread  a  compound  thread  the  equal  of  i6s  worsted  yarn. 

48  X  16  =  768      32  (48  —  16)  =  24. 

Answer:  The  minor  thread  required  in  the  present  example  is  a  24s  worsted  thread,  or  a 
48s  worsted  thread  and  a  24s  worsted  thread  compounded  into  a  2-fold  yarn  the  equal  in  counts 
to  l6s  worsted  yarn. 


285 


Example  C. — Question:  Find  size  of  single  yarn  required  (cotton  numbers)  to  produce  with 
a  80s  cotton  thread  a  2-fold  yarn  of  a  compound  size  of  equal  30s  cotton  yarn. 

80  X  30  =  2400  ^  50  (80  —  30)  =  48. 

Answer :  Tlie  minor  thread  required  in  the  present  example  is  a  48s  cotton  thread,  or  80?; 
and  48s  cotton  threads  compounded  into  a  2-fold  yarn  equal  in  this  compound  size  to  a  single 
30s  cotton  thread. 

VIII.  If  one  of  the  minor  threads  is  to  be  found  for  a  3-ply  thread,  of  which  two  minor 
threads  are  known,  use  the  following 

Rule:  Compound  the  two  minor  threads  into  their  equal  in  a  single  thread,  and  solve  the 
question  by  Rule  VII. 

Example. — Find  minor  thread  required  to  produce  with  single  30s  and  single  60s  worsted  a 
3-ply  yarn  to  equal  single  12s  worsted  counts. 

60s  and  30s  worsted  compound  =  (60  X  30  =  180     90  [60  +  30]  =  20)  single  20s  worsted. 

Thus  20  X  12         =    240      8  (20  —  12)     =  30 

jSZTrlTl     ,  \  I  J'r^ZrTr'eSl        f  ^-wn  size  | 

\  of  which  size       ■  of  which  size      "  3  ply 

i     IS  known.     J         ^       y^"^"'      ^  L     is  known.     j         ^      y^"^-  ^ 

Ansiver :  The  size  of  the  third  minor  thread  required  to  be  ascertained  in  the  given  example 
is  single  30s  worsted  yarn  or  a  3-ply  thread  composed  of  a  single  30s,  60s  and  30s  worsted  yarn 
equals  single  12s  worsted  counts. 


TABLE  OF  RELATIVE  LENGTHS 
Between  Metric  Measure  of  Length  and  the  Denominations  in  use  in  the  United  States. 


Metric  Denominations  and  VaUies. 


I 

MilHmetre  = 

.ooith  of  a  metre. 

I 

Centimetre  = 

.oith     "  " 

I 

Decimetre  = 

.1 

1 

Metre  = 

Unit  of  Length. 

I 

Decametre  = 

10  metres. 

I 

Hectometre  = 

100  " 

I 

Kilometre  == 

1,000  " 

I 

Myriametre  = 

10,000  " 

Equivalent  in  Denominations  in  Use  in  the  U.  S. 


0.03937  inches. 

0-39370 

3-93708 

39.3708  ''  or  3.2S09  feet. 
393.708  "  "  10.9^63  yds. 
328  feet  I  inch,  or  109.3633  " 

0.62138  miles. 

6.2138 


The  Metre,  the  Unit  of  the  Metric  Measiire  (in  use  in  Austria,  France,  Germany,  etc),  is  the 
Te7i- Millionth  part  of  a  Line  drazvJi  from  the  Pole  to  the  Equator. 


U.  S.  Measures. 

Metric  Measures. 

I 

Inch  = 

2.5399  Centimetres. 

I 

Yard  = 

0.9143  Metre. 

I 

Foot  = 

3-0479  Decimetres. 

I 

Mile  = 

1609.32  Metres. 

286 

TABLE  OF  RELATIVE  WEIGHTS 
Between  Metric  Denominations  and  the  Denominations  in  Use  in  the  United  States. 


Metric  Denominations  and  Values. 


I  Milligram  = 

I  Centigram 

I  Decigram 

'  Gram  = 

I  Decagram  = 

I  Hectogram 

I  Kilogram,  or  i  Kilo,: 

I  Myriagram  = 


.ooith  of  a  gram, 
.01  " 
.1  " 
Unit  of  Weight. 
10  grams. 
100  '' 
1,000  " 
10,000     ' ' 


Equivalent  in  Denominations  in  Use  in  the  U.  S. 


0.0154  troy  grains. 

o  1543  " 

1-5432  " 
15-4323  " 
134-3235  " 

3.5291  oz.  avoirdupois. 

2.2046  lbs.  " 
22.0462  "  " 


The  Gram,  the  Unit  of  the  Metric  Weights,  is  the  JVeighi  of  a  Cubic  CeJitinictrc  of  Distilled 
Water  at  4°  Centigrade. 


U.  S.  Measures. 


I  ounce  avoirdupois  ^ 
I  pound  " 
I  grain  troy 
1  ounce  "  = 
I  pound  "  = 


Metric  Measures. 


28.34  grams. 

453-59  " 
.0648  gram. 
31.104  grams. 
.3732  kilo. 


TABLE  OF  RELATIVE  MEASURES  OF  CAPACITY,  DRY  AND  LIQUID, 

Between  Metric  Denominations  and  the  Denominations  in  use  in  the  United  States. 

I  Millilitre  =    .ooith  of  a  litre,  or  i  cubic  Centimetre  =    I5'432  grain  measures,  or  0.061  cubic  inches. 

I  Centilitre  =    .oith  of  a  litre,  or  10  cubic  Centmietres  =   0.61027  cubic  inches. 

I  Decilitre  =    .ith  of  a  litre,  or  o.i  cubic  Decimetre  =   6.1027  cubic  inches. 

I  Litre  =    unit  of  the  measures  =    i  cubic  Decimetre  =    1.7608  pints. 

I  Decalitre  =    10  litres  =    10  cubic  Decimetres  =   2.2009  gallons. 

I  Hectolitre  =    100  litres  =    .1  cubic  Metre  =   22.0097  gallons. 

I  Kilolitre  =    1000  litres  =    i  cubic  Metre  =   220.0967  gallons. 

The  Litre,  the  Unit  of  the  Metric  Measures  of  Capacity,  Dry  and  Liquid,  is  the  Volume  of  a 
Cubic  Decimetre, 


N 


INDEX  AND  GLOSSAKY. 


PAGE. 


Alpaca  is  the  name  of  a  thin  kind  of  cloth  produced  from  the  wool  of  the  Alpaca,  an  animal  of  Peru. 

Anioniit  of JilHug  required  for  one  yard  of  cloih,  Ascertaxmn^,        .........  266 

Amount  of  warp  required  for  one  yard  of  cloth,  ascertaining,   265 

Analysis,  is  the  art  of  resolving  a  machine,  fabric,  material,  etc,  into  its  constituents  parts. 

Analysis  of  the  various  Textile  fabrics  ,   257 

Arrangement  of  threads  in  a  sample,  2L.sc^xX2S.n\x\%,    264 

Arranging  the  fabric  to  be  tested  and  methods  for  ascertaining  the  various  percentage  of  each  fibre  compos- 
ing the  thread  or  woven  cloth   .  262 

y?rraj  are  hangings  of  tapestry,   256 

Astrakhan  is  a  warp  pile  fabric,  used  for  ladies'  cloakings — trimmings,  eic   173 


Avoirdupois  Weight.   One  pound  avoirdupois  is  the  weight  of  27.7015  cubic  inches  of  distilled  water 
at  39.83°/^,  the  barometer  being  30  inches. 


Relative 

Weights  of  Avoirdupois^^ 

Weights  in 

"  Troy  ' '  Denomination. 

A  voirdupois= 

Lbs. 

oz. 

Dwt. 

Grains. 

I  Ton 

2922 

1 

13 

8 

H 
~-\ 

I  cwt. 

146 

I 

6 

16 

0 

iQt. 

34 

0 

6 

16 

T  Lb. 

I 

2 

II 

lA 

2 

I  Oz. 

18 

I  Dr. 

Relative 

Weights  of  Avoirdupois'^ 

Weights  in 

I 

^'Apothecaries"  Weight. 

3U 

Avoirdupois  = 

Lbs.  oz. 

Dr.  Scr. 

Gr. 

^> 

I 

Lb.  = 

I  2 

4  2 

I 

Oz.  = 

=r  =r 

I 

Dr.-  = 

I 

1\\  . 

r*  * 

Backing,  the  filling  which  produces  by  interlacing  with  warp-threads  the  lower  or  bqck  structure  in  a  fabric. 
Basket-weaves  are  subdivisions  of  the  plam  weave, 

 plain,   .  42 

 fancy,  45 

Batten  is  a  part  of  the  Jacquard  machine;  the  frame  which  carries  the  cylmder  in  its  motion  to  and  from 

the  needle  board   251 

Binder-warp,  the  warp  threads  producing  the  foundation  of  a  fabric  ;  interior  warp ;  this  warp  is  generally 

not  visible  in  the  finished  fabric.    Used  in  Astrakhans,  velvets,  Brussels  carpets,  upholstery  fabrics,  etc. 

Broken  Draws,  32 

Broken  Twills  are  twill  weaves  in  which  the  direction  of  the  characteristic  twill  line  is  arranged  to  run 

partways  of  the  repeat  in  the  weave  from  left  to  right,  and  partways  from  right  to  left. 

Broken  Twills  are  a  sub-division  of  the  regular  twills,  52 

Brussels  Carpet,  188 

Calculations  necessary  for  the  manufacture  of  the  various  textile  fabrics,  257 

Camel  Hair  is  the  hair  of  certain  camel.s,  and  is  used  either  combed  or  carded. 
Cam  Loom,  a  loom  in  which  the  harnesses  are  actuated  on  by  cams. 

Card  Stamping.  253 


Cashmere,  or  Kashmere  wool,  is  the  fine  hair  of  the  Cashmere  goat,  which  thrives  upon  the  Himalaya 

mountains  and  surrounding  country,  in  Asia.    Cashmere  is  also  used  to  indicate  certain  fabrics  made 

of  wool  or  silk  warp  and  goat  hair,  or  fine  Merino  wool  filling. 
Checkerboard  effects  in  fabrics,  produced  by  the  color  arrangement,  are  the  combination  of  Hair  line  and 

Tricot  effects.   See  fig.  20. 
Chenille  is  a  fringed  thread  used  either  for  filling  in  the  manufacture  of  rugs,  curtains  ;   or  in  its  first  woven 

state  in  Trimmings,  Fringes,  etc.  153 

Chenille  Cutting  Machine.        ,  •  158 

(287) 


288 


PAGE. 

Chenille  Fabrics,  as  produced  by  cross  weaving  •       •  244 

ChiHchillas  are  pile  fabrics  produced  by  an  extra  filling  ;   used  for  overcoatings  152 

Colors. 

 Primary:    Blue,  Red,  Yellow. 

 Secondary  :    Purple,  Orange,  Green. 

 Tertiary  a  :    Russet,  Olive,  Citron. 

 Tertiary  b  :    Brown,  Maroon,  Slate. 

Color- Harmo7iy.    Every  color  has  its  perfect  harmony,  (contrast,)  and  also  other  colors  which  harmonise 

with  it  in  different  degrees.    When  two  colors  are  to  be  used  in  a  textile  fabric  which  do  not  accord, 

the  proper  selection  of  a  third  may  make  a  harmonious  combination. 
Comber-board  a  part  in  the  Jacquard  loom  ;   placed  in  the  latter  fjr  holding  harness  cords  and  heddles  in 


the  proper  position   254 

Combination  of  different  systems  of  Weaves  for  one  Design  •  9° 

Co>nbination  of  the  Swivel  effect  in  fabiics  interlaced  with  two  systems  of  warp  and  one  or  two  systems  of 

regular  filling   m 

Combination  of  Weaves  for  fabrics  constructed  with  one  system  of  warp  and  two  systems  of  filling,   •       .  105 

 for  fabrics  constructed  with  two  systems  of  warp  and  one  system  of  filling.     .       .       .      .       .  114 

Combination  Steep-  Twills  are  a  sub-division  of  the  regular  twills.    Their  method  of  construction,      .       .  67 

Combining  tiuo  systems  of  filling  with  one  kind  of  warp,  for  increasing  the  bulk  of  a  fabric,       .       .       .  105 

 two  systems  of  filing  zaith  one  kind  of  warp,  for  figuring  with  e.xtra  filling  upon  the  face  of  the 

fabric  •   loS 

 two  sysfents  of  zuarp  and  one  systeni.  of  filling  ior  Y>^oA\icAng  douhye-ia.ceAia.hnQS,        .       .       .  114 

 two  systems  of  warp  and  one  system  of  filing  for  producing  the  bulk  in  fabrics,     .       .       .       .  115 

Corduroys  are  pile  fabrics  produced  by  an  extra  filling,    i49 

Corkscrew  Twills  are  a  sub-division  of  the  regular  twills.    Their  method  of  construction,          ...  6S 
Cb^^ow  is  the  white,  downy,  fibrous  substance  which  envelopes  the  seed  of  variou3  species  of  the  cotton 
plant,  gossypium,  belonging  to  the  natural  order  malvacece. 

Cotton  or  other  vegetable  fibre,  how  to  detect,  in  woolen  or  silk  fabrics,   261 

Cotton  Yarns,  grading  of,   269 

Cotton  )<zr«,  woolen  yarn  (cut  basis),  table  of  relative  lengths,   276 

 woolen  yarn  (run  basis\  table  of  relative  lengths,   276 

  worsted  yarn,  table  of  relative  lengths,   276 

Cross-weaving  as  used  for  producing  fast  centre  selvages,      .   247 

 as  used  for  the  manufacture  of  Filtering- bags,   246 

 or  Gause  weaving. 

Curved  tzLnlls  are  the  combinations  of  regular  twills  and  steep-twills.    Their  method  of  construction  .       .  62 

Cutting  Double  Pile  fabrii  s  after  leaving  the  loom,  m:\Qh\ntiior,     .........  205 

a  part  of  the  Jacquard  machine,   251 

Delaine,  a  light  worsted  cloth  of  specially  selected  Icng,  fine  and  strong  staple  in  the  material  when  pro- 
ducing the  yarn. 

Derivative  IVeaves  irom       ¥\a.\n  viftAVQ,   41 

 from  Twills,         .   52 

 from  Satins,    §4 

Designing  Paper.    Selection  of,       .....   12 

Divisions  of  Textile  Fabrics  accordm^  to  X.hei'c  consirucliov),  '       •  9 

Z>(?/<<^/^'  O'o/'A  a  fabric  produced  bj' combining  two  single  cloths  into  one  structure,       .....  129 

Double  faced  Pile  carpels,   i93 

Z^w^A/^ /"//^ /^(?6r;V.s' made  with  a  proportionally  higher  pile,  ..........  210 

 principles  of  construction,   I94 

 methods  of  operation  in  use  for  producing  <'.(iuble  pile  fabrics  and  the  different  systems  of  cut- 
ting the  pile  threads,   197 

Double  Plush,   i94 

Z^w^^/^"  5'a//«.s' are  a  sub  division  of  the  regular  Satin  weaves.  Their  method  of  construction,  ...  84 
DoHp  or  doup  hcddle,  required  in  gauze  weaving  to  produce  the  douping  or  twistmg  of  the  whip  threads 

around  the  ground-threads,    228 

Drafting  of  Drazuing-in  Drafts  from  Weaves,                                                                .       .       •       ,  36 

Drawer-in,  the  operative  performing  the  drawing-in  of  the  warp  in  its  harness,     ......  31 

Drawing-in  Drafts.    Specimen  of  a  complete  drawing-in  order-sheet,          .......  35 

 Their  different  div  isions,   32 

 Their  principle,   31 


289. 


PAGE. 


Drawing-in  the  Warp  in  its  Harness;  description  of  the  operation,   31 

iS"«^2i'/«/«o-  7zfz7/j  are  a  sub  division  of  the  regular  twills.  Their  method  of  construction,  ...  75 
Fancy  Cassimere,  a  fancy  woolen  fabric,  used  for  suitings,  trouserings,  etc., 

Fancy  Effects  as  produced  by  the  arrangement  of  two  or  more  colors  in  fabrics  interlaced  with  broken 

twills,   55 

 as  produced  by  the  arrangement  of  two  or  more  colors  in  fabrics  interlaced  with  rib  and 

basket-weaves,   48 

 as  produced  by  the  arrangement  of  two  or  more  colors  in  fabrics  interlaced  with  twill-weaves,     .  22 

 in  Fabrics  produced  with  the  plain-weave,   14 

Fancy  Gauze,  combination  of  plain  and  gauze  weaving,   231 

Fancy  Twill  Weaves,  being  a  sub-division  of  the  regular  twills,   80 

Figured  Double  Pile  Fabrics,   210 

Figured  Double  Plush  produced  upon  a  Jacquard  machine  containing  a  stationary  and  a  rising  "Griffe," 

and  also  a  falling  "Grate,"   214 

Figured  Effects  as  produced  by  the  arrangement  of  two  or  more  colors  in  fabrics  interlaced  with  Deriva- 
tive weaves,   93 

Figured  Imitation  Gauze  iveaves.    Their  method  of  construction,   104 

Figured  Piqu(',   141 

Figured  Velvet,    171 

Figuring  zvith  an  extra  Warp  upon  the  face  of  a  fabric  otherwise  interlaced  with  its  regular  warp  and 

filling,    117 

Finished  Texture,  ends  per  inch  in  warp  and  filling  in  the  finished  fabric  ;  description  of  the  procedure  for 

ascertaining,   258 

Five  ply  Cloth,  a  fabric  produced  by  combining  five  single-cloth  fabrics  into  one  structure   147 

Foundation  Weaves,  the  divisions  for  grading  the  different  weaves  textile  fabrics  are  constructed  by,        .  13 

/vJttr-Z'/y  r/o/Zz,  a  fabric  produced  by  combining  four  single-cloth  fabrics  into  one  structure,         ...  147 

Frame,  technical  grading  of  Brussels  carpets,   188 

Fringes,   160 

Fullifig.  The  process  of  felting  cloth. 

Fustians,  pile  fabrics  produced  by  an  extra  filling,   i49 

Gauze  are  fabrics  characterized  by  not  having  their  warp-threads  resting  parallel  near  each  other  as  ob- 
served in  ordinary  weaving,   228 

Gauze  weaving  Mechanistn  for  Open-shed  Loo'ns,   237 

Gigging.    The  process  of  producing  a  nap  on  cloths. 
Gifighani,  a  fancy  cotton  fabric. 

Gobelin  Tapestry,   256 

Grading  of  the  various  Yarns  used  in  the  Manufacture  of  T ?xtile  Fabrics  according  to  Size  or  Counts,  .  269 
G ranite- Weaves  axe  vmaves  producing  in  the  fabrics  they  are  used  for  small  broken-up  effects.  Their 

method  of  construction,  

Griffe,  a  part  of  the  Jacquard  machine,     .   251 

(Jriyfc-ilirt;'^,  the  constituents  of  the  Griffe,   251 

Ground-zvarp,  the  warp  around  which  the  whip-threads  are  twisted  in  Gauze  weaving. 


Ground  laarp  or  Body  warp,  the  warp  which  forms  by  interlacing  with  the  filling  the  body  structure  in  pile 


fabrics. 

Hair-line,  fine  line  effects  (running  warp  ways)  in  a  fabric.    See  Figs.  18,  87,  88,  214,  215,  219,  220,  22:. 

Hander-in,  the  operative  assisting  the  "  Drawer-in  "  in  threadingthe  warp  in  its  harness  3I 

Harness,  or  harness-shaft,  or  shaft,  the  frame  holding  the  heddles  in  position  31 

Heavy  Square  in  Designing  paper,  practical  use  of  the,  10 

Heddles,  the  same  are  adjusted  to  the  harness-shaft  and  have  the  warp-threads  drawn  through  their  eye    .  31 

Heddles  ;  Rules  for  estimating  the  number  of  heddles  required  on  each  harness.  38 

//^'fl'i//^?-0''?.  the  opening  in  the  centre  of  the  heddle  through  which  the  warp-threads  are  threaded,  .  .  31 
Honeycomb  Bedspread,  a  fabric  interlaced  with  peculiar  weaves  known  as  honeycomb  weaves. 

Honeycontb  Weaves,  their  method  of  construction,  9^ 

Ingrain  Carpet,  ^^5 

Imitation  Gauze  Weaves,  their  method  of  construction,   102 

Imitation  Tricot,  fine  line  effects  (running  filling  ways)  in  a  fabric,  see  figs.  19,  213  and  216. 
fack,  a  part  of  the  harness-motion  in  a  loom. 

facquard  Gauze,  

facquard  Harness,  ^53 

facquard  Machine,  ^SQ 


:  .290 


PAGE. 


Jersey  Cloth,  the  name  of  a  fabric  characterized  by  its  great  amount  of  elasticity.  This  fabric  is  mostly 
produced  lay  knitting  machines.  For  imitation  of  Jersey  cloth  produced  upon  the  regular  loom  see 
weave  fig.  628. 

Jute  is  a  native  plant  of  China  and  the  East  Indies  ;  its  long  fibre,  which  is  of  a  brown  to  silver-gray  color, 
is  used  largely  in  the  manufacture  of  Brussels  and  Tapestry  carpets,  rugs,  etc.,  for  the  body-ground 
structure  of  the  fabric.    It  is  distinguished  from  flax  by  being  colored  yellow  under  the  influence  of 


sulphuric  acid  and  iodine  solution.    The  grading  of  the  yarn  when  spun  is  done  similar  to  woolen  yarn 
cut  basis  (300). 

Lantern,  the  iron  extension  put  on  the  cylinder  of  a  Jacquard  machine.    The  cylinder  is  turned  by  means 

of  the  catches  working  on  the  lantern,  251 

Lappet  Weaving,  123 

Lay,  Lathe  or  Batten,  a  part  of  the  loom.    To  it  are  secured  the  shuttle-boxes  and  the  reed. 
Leash,  two  or  more  harness  cords  combined  and  adjusted  to  one  neck-cord. 

Lei  off  Mechanism  for  the  Pile  warp  in  Weaving  Double  Pile  Fabrics.   209 

Machines  for  curling  warp  threads  for  Astrakhans.  180 

Mail,  made  of  metal,  forms  the  centre  part  of  a  twine  heddle;  in  the  eye  of  the  mail  the  warp-thread  is 
drawn. 

Matelasses,  a  fabric  chiefly  used  for  ladies'  jackets  or  mantle  cloth.  140 

Metric  Denominations  and  those  used  in  the  United  States,  Tables  of  relative  Length,  Weight  and  Capacity 

between,  285 

Mixed  or  Cross  Draws  35 

Modifications  of  the  single-lift  Jacquard  Machine  252 

Mohair,  the  fleece  of  the  Angora  goat.    It  is  largely  used  in  the  manufacture  of  light-weight  dress  goods, 

which  are  characterized  by  their  lustre.    In  pile  fabrics,  as  plushes,  velvets,  Astrakhans,  etc. ,  of  a 


plain  or  figured  denomination,  mohair  is  frequently  used  for  the  "  Pile  warp,"  while  the  ground  or 
body  of  the  fabric  is  made  of  cotton. 
Open  shed  Loom,  the  name  of  a  loom  which  by  means  of  its  harness  motion  changes  the  position  of  the 
harness  only  when  so  required  by  the  weave,  consequently  acts  as  easy  as  possible  on  the  yarn  ;  and 
this  with  an  additional  allowance  for  high  speed. 


Open  shed  Loo)ns  adopted  for  Gauze-weaving.   237 

Peculiar  Character  of  Gauze  Fabrics   231 

Picking  out  or  ascertaining  the  weave   259 

File  Fabrics  are  woven  articles  characterized  by  a  soft  covering  overspreading  the  ground-structure  of  the 

fabric.    149 

 produced  by  an  extra  filling.   149 

 produced  by  an  extra  warp.   166 

Plain-weave,  is  also  known  as  cotton  weave;  in  this  weave,  warp  and  filling  cross  each  other  at  right 

angles,  and  interweave  alternately   13 

Plain  Pique  Fabrics                                                                                                                   .  140 

Plush  Fabrics  (single  plush)   168 

Point  Draws  ,   33 

Point-harness,  the  technical  name  for  the  first  and  last  harness  in  a  point  draw. 

Po/w/ija?  7't6'///j  are  a  sub-division  of  the  regular  twills.    Their  method  of  consttuclion.       ....  80 

Process  of  Finishing  necessary  and  amount  of  Shrinkage  of  the  Fabric,  ascerlaming,   268 

Quilts  are  fabrics  used  for  bedspreads,  toilet-covers,  etc.,  made  in  white,  with  cotton  for  material.  Tiie 

design  in  these  fabrics  is  produced  by  a  visible  s' itching  in  double  cloth,   140 

Raisers,  or  warp  up,  or  the  warp  to  be  visible  on  the  face  of  the  fabric,   12 

Ratine,  a  filling  pile  fabric  used  for  overcoatings,   152 

Raw  Materials  used  in  the  Construction  of  a  Fabric,  ascertaining,   261 

Raw  Silks,    273 

Reclifiing-  Twills  or  flat-twill  weaves,  are  a  sub-division  of  the  regular  twills.    Their  method  of  construc- 
tion,  60 

Reed,  a  series  of  narrow  strips  of  metal,  between  wiiich  tlie  warp-threads  pass  in  the  loom,        ...  39 

Reed  Calculations,     39 

Repp,  a  fabric  showing  rib  lines  in  the  direction  of  the  warp  or  filling,  or  in  both  systems  of  threads  in  the 

same  fabric,    .   ^4 

Rib  Fabrics   142 

Rib  weaves  are  sub-divisions  of  the  plain  weave. 

Rii>  weaves,  plain,   4^ 

- —  fancy  ,   43 


291 


PAGE. 


Rib  Weaves,  figured,   46 

 oblique,   50 

 combining  plain  and  oblique  rib-weaves,   51 

Roller  Loom,  a  loom  in  whicti  the  harnesses  are  actuated  on  by  means  of  straps  passing  over  rollers. 

Rules  for  designing  double  cloth,   130 

Rules  for  finding  the  equivalent  Counts  of  a  given  Thread  in  another  System,   274 

Satin  Weaves,  their  method  of  construction,   25 

 influence  of  the  twi^t  of  the  yarn  upon  the  fabric  produced  with  the  latter,   29 

 arrangement  for  commencing  the  same  for  special  fabrics,   29 

Seamless  Bags,  double-cloth  weaving  without  stitching  both  cloths,   137 

Section  Arrangement  Draws,   34 

Selvedge,  selvage,  the  edge  of  the  cloth,  woven  in  such  a  manner  to  prevent  ravelling  ;  also  called  list  01 
listing. 

Shot  about,  the  alternate  exchange  (filling  ways)  of  figure-up  and  ground-up  in  two-ply  ingrain  carpet. 

Shrinkage  of  a  Fabric  in  width  from  loom  to  case,   263 

Shrinkage  or  Take-tip  oi  wzx^  A\xx\x\%-w&dMm%,   263 

Shuttle-race  way,  the  part  of  the  lay  on  which  the  shuttle  travels  to  and  fro. 

Silk  consists  of  the  pale  yellow,  buff"  colored,  or  white  fibre,  which  the  silk  worm  spins  around  about  itself 

when  entering  the  pupa  or  chrysalis  state. 

Silk,  to  detect  from  wool  or  the  vegetable  fibres,   262 

Sinkers,  or  filling  up,  or  the  filling  to  be  visible  on  the  face  of  the  fabric,   12 

Size  of  the  Yarns  found  ifi  Sample,  ascertaining   264 

Skeleton  Harness,  the  harness  frame  to  which  is  fastened  the  doup,   228 

Skip  Draws,   35 

Skip  Tzvills  are  a  subdivision  of  the  regular  twills.    Their  method  of  construction,   63 

Slackener  or  Easer,  an  attachment  on  the  loom  necessary  in  gauze  weaving  to  ease  up  the  whip-threads  when 

douping, 

Smyrna  Carpets  and  Rugs  are  pile  fabrics  of  a  special  method  of  construction,  made  upon  the  "  Hautelisse" 

loom   221 

Spwt  Silks.   273 

Squared  Designing  Paper,  as  used  for  the  different  textile  fabrics,   9 

Standard  Harness,  the  harness  frame  carrying  the  standard  heddle ;  through  the  latter  the  doup  is 

threaded   228 

Steep  Twills,  or  Diagonals,  are  a  sub  division  of  the  regular  twills.  Their  method  of  construction.  .  56 
Stitching,  technical  for  the  procedure  of  combining  two  single-cloth  fabrics  into  double-cloth. 

Substitutes  for  Regidar  Doups  in  Gauze  weaving   242 

Swivel  Loom,  a  loom  capable  of  two  different  movements ;  namely,  the  swivel  and  the  plain  weaving 

movements   iii 

Swivel  Weaving,  a  method  of  weaving  for  producing  figures  upon  fabrics  otherwise  interlaced  with  a  reg- 
ular waip  and  filling  ;  used  in  the  manufacture  of  figured  dress  goods,  ribbons,  etc   109 

Table  for  ascertaining  the  number  of  square  inches  in  any  Fabric,  with  a  width  of  18  inches  to  54  inches.  .  258 

Table  for  finding  the  Satin  Weaves  most  frequently  used.   29 

Table  for  Lengths  of  Cotton  Yarns,  from  No.  i  to  240s.   269 

Table  for  Lengths  of  Woolen  Yarns  (cut  basis),  from  i  cut  to  50  cut  yarn.    .    271 

Table  for  Lengths  of  Woolen  Yarns  (run  basis),  from  %  to  15  run   271 

Table  for  Relative  Lengths  of  inches  dressed  and  one  yard  woven.       .       .   266 

Table  showing  the  Length  of  Gum  Silk  Yarn,  per  pound  and  ounce,  from  i  dram  to  30  dram  silk     .      .  274 

Table  shoiving  the  number  of  yards  of  Worsted  Yarn  (single  or  two-ply)  from  number  i  to  200.  ...  272 

Tapestry  Carpet.   185 

Terry  Pile,  the  pile  in  a  fabric  in  which  the  loop  is  left  intact   166 

Terry  Pile  Fabrics  in  which  the  pile  is  produced  during  weaving  without  the  aid  of  wires,  ....  216 
Texture,  number  of  warp  and  filling  ends  to  one  inch  in  a  fabric.  There  are  two  textures  :  a,  for  the  fabric 
from  the  loom,     for  the  finished  fabric. 

Texture  of  Fabrics  required  in  loom.   263 

Three-ply  Cloth,  a  fabric  produced  by  combining  three  single-cloth  fabrics  into  one  structure,     ...  146 

Trevette  or  cutting  knife  used  for  cutting  (by  hand)  the  pile  in  warp  pile  fabrics,    167 

Tricot  fabrics  more  or  less  elastic  as  compared  to  other  woven  articles. 

Tricot  Weaves.    Their  method  of  construction   126 

Twills,  weaves  forming  fine  diasronally  running  lines  in  the  fabric   16 

Tivills  having  Double  Twill  Effects,  are  a  sub-division  of  the  regular  twills.   Their  method  of  construction.  77 


292 


PAGE. 

Tit'ill  Weaves  producing  Checkerboaf'd  Effects  are  a  sub  division  oi  the  regular  twills.    Their  method  of 

construction,  78 

Twisted  Yarns  composed  of  Tzvoor  more  mitior  Threads  of  which  the  Counts  are  Known,  ascertaining  their 


compound  counts,  " .       .  283 

Two  ply  Ingrain  Carpet,   225 

Velveteens  are  filling  pile  fabrics   145 

Velvet  Fabrics,   168 

Velvet  Pile,  the  pile  in  a  fabric  in  which  the  1  'oj;  i^  cut,   166 

Wadding,  or  interior  filling.  Used  in  the  manufacture  of  Chinchillas,  Matelasses,  Piques,  and  similar  fab- 
rics. In  the  first-mentioned  class  of  fabrics  it  is  solely  used  for  increasing  the  bulk,  while  in  the 
latter  fabrics  it  is  used  to  give,  in  addition,  a  rich,  embossed  effect  to  the  design. 

Weave,  ascertaining  the,   259 

Weight  of  Cloth  per  yard  from  Loom,  ascertaining   265 

Weight  per  yard  of  the  Finished  Fabric,  method  in  use  for  ascertaining,   257 

Whip  thread,  or  douping  warp  in  gauze. 

Mhip  roll.  A  part  of  the  loom.  The  warp  passes  from  the  warp-beam  around  the  whip-roll  towards  the 
harness. 

^f%zV;?^i/'^  Filling  Pile  Fabrics,  used  for  overcoatings,   152 

Wool.  By  the  term  wool  we  comprehend  the  hairy  covering  of  several  species  of  mammalia,  more  especi- 
ally that  of  the  sheep.  It  is  more  flexible,  elastic  and  curly  than  hair.  Wool,  as  used  for  warp  and 
filling,  is  either  combed  or  carded,  technically  known  as  worsted  or  wool-spun  yarn. 

Woolen  Yarn,  "cut  system,"    271 

 cut  basis, — cotton  yarn,  table  of  relative  lengths,   279 

 cut  basis, — woolen  yam,  run  basis,  table  of  relative  lengths,   279 

 cut  worsted  yarn,  table  of  relative  lengths,   280 

 "  run  system,''  ■   270 

 run  basis. — cotton  yarn,  table  of  relative  lengths,   277 

 run  basis, — woolen  yarn,  cut  basis,  table  of  relative  lengths   278 

 run  basis, — worsted  yarn,  table  of  relative  lengths   278 

Worsted  Yarns   272 

Worsted  Yarn,  cotton  yarn,  table  of  relative  lengths,   281 

 woolen  yarn  — cut  basis,  table  of  relative  lengths,   282 

 woolen  yarn,— run  basis,  table  of  relative  lengths,      .       .    282 

Worsted  Coatings,  a  double  cloth  in  which  the  stitching  is  arranged  to  form  designs   138, 

)'an/  Calculations,    283 


^  UCTION  IN 

TEXTILE  C  MQ? 

(either  person 

If  SO,  addrc  ^  'T^^ 

EXPERT  iio 


The  Structure  of  Fibres,  Yarus  and  Faliiics 

Being  a  practical  treatise  for  tlie  use  of  all  persons  employed  in 
the  manufacture  of  Textile  Fabrics. 


IN  TWO  VOLUMES  BOUND  IN  ONE. 


YOL.  I.  Bein^j;  a  dt-scription  of  tlie  growtli  and  manipulation  of  Cotton,  Wool,  Worsted, 
Silk,  Flax,  Jute,  Ramie,  Chinagrass  and  Hemp. 

YOL.  II.  Dealing  with  all  manufacturers'  calculations  for  every  class  of  material,  also 
giving  minute  details  for  the  structure  of  all  kinds  of  Textile  Fabrics. 

Containing  also  an  appendix  of  Arithmetic,  specially  adapted  for  Textile  purposes. 

 BY  


E.  A.  POSSELT, 


Head  Master  Textile  Department  Pennsylvania  Museum  and  School  of  Industrial  Art,  Philadelphia,  Pa. 
Author  and  Publisher  of  "The  Technology  of  Textile  Design;"    "The  facquard  Afachine 
Analyzed  and  Explained,  The  Preparation  of  Jacquard  Cards  and  Practical  Hints 
to  Learners  of  Jacquard  Desigtiing,"   etc.,  etc. 

ACCOMF'AKIED   BY  OVER  4:00  ILLUSTRATIONS. 


Tiao  ]'oliiJ}i€s  boutid  in  one.    Otiarto,  handsomely  bonmi  in  Cloth.    Price,  Ten  Dollars, 

including  Expressaoc. 


ABSTRACT  OF  THE  CONTENTS. 

THE  STRUCTURE  OF  FIBRES  AND  YARNS  FOR 
TEXTILE  FABRICS. 


COTTON. 

COTTON,  ITS  ORDER  AND  CHARACTERISTICS— GOSSYPIUM  BARBADENSE— Sea  Island  Cotton— Australian  Cotton— 
GOSSYPIUM  ARBOREUM— GOSSYriu:\I  HIRSUTUM— New  Orleans  Cotton— Upland  Cotton— GOSSYPIUM  HERBACEUM— 
GOSSYPIUM  PERUVIANUM— GOSSYPIUM  Ri-;LIGIOSUJI— TABLE  OF  REFERENCE  AS  TO  KINDS,  LENGTH  OF 
STAPLE  AND  DIAMETER  OF  FIBRES— EXAMINATION  OF  THE  VARIOUS  KINDS  UNDER  THE  MICROSCOPE— 
Ripe  and  Unripe  Cotton— CHEMICAL  COJIPOSITION— HARVESTING— CLEANINCi— SEED  COTTON  CLEANERS 
OF  VARIOUS  DESCRIPTIONS— GINNING— SAW-GIN— Improved  Brush  for  Saw  Gins— Automatic  Oiling  Saws— Improved 
Saw  Gin  with  Device  for  Grading— MACARTHY-GIN— IMPROVED  JIACARTHY  OR  COMB-GIN— MACARTHY  DOUBLE 
ROLLER-GIN— FEEDERS  FOR  COTTON-GINS— COTTON  SPINNING  DEFINED— Mixing,  Picking,  Carding,  Combing 
Drawing,  Slubbing,  Roving,  Spinning,  Doubling,  Gasing,  Polishing,  MIXING — Bale-Breaker— OPENING— Creighton 
Opener — Opener  and  First  Picking — Exhaust  Opener  and  Breaker  Picker — Exhaust  Opener  Picker  and  Lap  Machine 
—PRINCIPLE  OF  PICKING— FINISHER  PICKER— PIANO  FEED— CARDING— Principle  of  Carding— Card  Clothing- 
Card  Teeth— CARDING  ENGINES— ROLLER  CARD— REVOLVING  FLAT  CARDING  ENGINES— REVOLVING  FLAT 
CLEARER— TOP  FLAT  CARD— Fall's  Patent  Double  Rack— COMBINATION  CARD— DOUBLE  CARDING  ENGINES- 
BREAKER  AND  FINISHER  CARD  DEFINITIONS— LAP-WINDER— RAILWAY  HEAD— CARD  CLOTHING  MOUNTING 
MACHINE— CARD  GRINDING— STRIPPING— COMBING— HEILMANN  COMB— DOBSON  AND  BARLOWS  COMB— IMBS 
COMB— RIBBON  LAPPER— DRAWING— DRAWING  FRAMES— Front  and  Back,  Coiler  and  Can  Stop  Motions— Electric 
Stop  Jlotion— SLUBBING,  INTERIMEDIATE  AND  ROVING— SLUBBING  FRAMp;— INTERMEDIATE  FRAME— ROVING 
FRAME— SPEEDERS— FLY  FRAMES— DIFFERENTIAL  MOTION.S— HOLDSWORTH'S  DIFFERENTIAL  MOTION— 
TWEEDALE'S  DIFFERENTIAL  MOTION— SPINNING— COMMON  FLY  THRO.STLE— RING  FRAME— Ring  and  Ring 
Traveller — Sawyer  Spindle— Rabeth  Spindle — Sherman  Spindle — Whitin  Gravity  Spindle — Doyle  Separator— Cunimings 
Separator — Stop  Motion  for  Delivery  of  Roving — Tension  Regulating  device  for  Spindle  Driving  Bands — MULE — DOUB- 
LING OR  TWISTING— Twisters— Gasing— Polishiug. 


WOOL 


WOOL,  ITS  ORDER,  ORIGIN  AND  CHARACTERISTICS— Its  Surface  Structure— Comparing  Wool  and  Hair— Natural 
Color— Staple — Elasticity— Chemical  Composition— Tnieness— Soundness— Softness— MUFLONS  OR  WILD  SHEEP — Argali — 
Big  Horn— Aoudad— European  Muflon— Rocky  Mountain  Goat— Prong  Horn  Antelope— DOMESTIC  SHEEP— Its  Classifi- 
cation Upon  an  Industrial  Point  of  View— AMERICAN  BRe;EDS  OF  SHEEP— Mexican  Sheep— Virginian  Sheep— Improved 
Kentucky  Sheep— Merino— FOREIGN  BREEDS  OF  SHEEP— Lincoln  Sheep— Romney  Marsh  Sheep— Leicester  Sheep— Cotswold 
Sheep— Oxford-down  Sheep— South-down  Sheep — Dorset  Sheep— Hampshire-down  Sheep — Cheviot  Sheep — Shropshire  Sheep — 
Black-faced  Scotch  Sheep,  etc. — Fat-runiped  Sheep — I'lat-tai  ed  Sheep — Walachian  Sheep — MERINO  SHEEP — Characteristics 


WOOL — Continued. 

of  this  Breed — Sorting  of  the  Fleece  as  doue  iu  Spain — Saxon  Merino — Prussian  Merino — Silesiau  Merino — Hungarian  Merino 
Poor  Results  as  to  English  Merino— French  Merino — Russian  Merino — Introduction  of  the  Merino  into  Cape  Colony— Australian 
Merino— American  Merino- South  American  Merino- CASHMERE;  GOAT— ANGORA  (iOAT— CAMEI^S'  HAIR— CAMEL- 
VICUGNA— GlANACO—LtAMA— ALPACA— GRADING  OF  THE  FLEECE,  OP.  '■VOOL  SORTING— Fibres  Per  Square  Inch 
—Good  and  Bad  Wool— YOLK— SCOURING  AGENTS  AND  THE  PREPARATION  OF  THE  SCOURING  LIQUOR— Soap- 
Hard  and  Soft  Water — Heat  and  Strength  for  Scouring  Liquor — Influence  of  Scouring  Liquor  if  FMther  Too  Hot  or  Too  Strong, 
or  Both,  Upon  the  Fibre — Stale  Urine — Sodium  Carbonate — Potassium  Carbonate — Ammonium  Carbonate— Ammonia— Sal- 
Ammoniac—Salt— WOOL  SCOURING— Old  Style— Modern  Wool  Scouring— CONSTRUCTION  OF  WOOL  SCOURING  MA- 
CHINES—Rake  Scouring  Machine — Hydraulic  Scouring  Machine— Rules  for  Scouring  Wool— WOOL  DRYING— Open  Air, 
Screen  or  Table  Wool  Dryer — Automatic  Continuous  Wool  Dryer— Combining,  Washing  and  Drying  Machines— New  Style 
Dryer— BURRING— CARBONIZING— Carbonization  with  Sulphuric  Acid  ;  Chloride  of  Aluminum  ;  Chloride  of  Magnesium ; 
Strong  Salt  Solution  and  Acid  Vapors— BURRING  MACHINES— Self-Feed  for  Burr  Pickers— WOOL  DUSTER— Straight 
Duster— Cone  Duster— MIXING— OILING— Oiling  by  Hand— Atomizing  Wool  Oiler— Kinds  of  Oil  to  Use— Testing  Oils— Quan- 
tity of  Oil  to  be  Used— CONSTRUCTION  OF  THE  WOOL  PICKER— CARDING— SET  OF  CARDS— SELF-FEEDING 
MACHINES— Bramwell  Self-Feed— Peckham  Feeder— Lemaire  Feeder— CARD  CLOTHING  AND  RELATIVE  ACTION  OF 
CARD  WIRES— Fillett  Winding— Clothing  With  Sheets— FIRST  BREAKER  CARDING  ENGINE— BANK  CREEL— ROVING 
SPOOLER— BACK  STAND— BURRING  MACHINES  AS  ATTACHED  TO  THE  FIRST  BREAKER  CARD— Single  Burring 
Device— Feed  Rolls— Single  Burring  Device  With  Feed  Rolls  Attached— Double  Burring  Device  With  Feed  Rolls  Attached- 
Retainer  Roll  lor  Feeding  Attachments  to  the  First  Breaker— MF;TALIC  BRF;aST— BURRING  DEVICE  AND  MF;TALIC 
BREAST  COMINED— INTERMEDIATf:  FEEDINc;  MACHINES— Lap  Feeding  System— Ribbon  System— Side  Drawing 
System— Balliug-head—Lap  Winder— Backstand-Apperley  Feed— SECOND  BREAKER— FINISHER  CARDING  f;nGINE— 
CONDENSERS — Double  Deck  Condenser— Single  Doffer  Condenser — Single  and  Double  Rubber  Condenser — Three  Doffer  Con- 
denser—Condensing With  Rolls,  Aprons,  or  Aprons  and  Rolls— BOLETTE  CONDENSER— B.  C.  Made  With  Single  Rubbers— 
B.  C.  Made  With  Double  Rubbers— Latest  Improved  Bolette  Condenser— GRINDING— TURNING  AND  COVERING  ROLLERS 
PREPARING  WASTF;  FOR  RE-WORKING— Hard  Waste— Soft  Waste— RAG  OR  SHODDY  PICKER— GARNETT  MACHINE 
—WASTE  DUSTER— SPINNING— MODF:rN  SPINNING  MACHINERY— MULE— SPINNING  MACHINE— RING  SPIN- 
NING—SPINNING MACHINES  ATTACHED  TO  FINISHER  CARDS— SINGLE  YARN— SPOOLING— TWISTING— RING 
TWISTER— TWO-FOLD  YARN. 

WORSTED. 

PRINCIPLE  OF  WORSTED  SPINNING— SELECTION  OF  THE  RIGHT  MATERIAL— DIFFERENT  METHODS  OF 
MANUFACTURING  WORSTED  YARNS  IN  USE— OPERATIONS  COMPRISING  WORSTED  SPINNING,  Sorting,  Scouring, 
Drying,  Preparing,  Combing,  Drawing,  Spinning— SORTING  EXPLAINED— PRp;PARING  WOOL  FOR  COMBING— PRE- 
PARING BY  CARDING  AND  GILLING— Carding  Engines  in  Use— Backwashing  and  Gilling  Process— Combined  Backwashing 
and  Screw-Gill  Balling  Macliine— PREPARING  BY  GILLING— Gill  Boxes— Preparing  Set— Gills,  Fallers— Improved  Device  for 
Grinding  Fallers—COMBI  NG— Hand  Combing— COMBING  BY  MACHINES— Cartwright's  Invention- Nip  Comb- Josue  Heil- 
man— S.  C.  Lister— G.  E.  Donisthorpe— LISTER'S  NIP  COMB— SQUARE  MOTION  COMB— NOBLE  COMB— Dabbing  Brushes. 
LITTLE  &  EASTWOOD'S  COMB— BALLING  OR  TOP  MAKING— Can  Finisher— Balling  Finisher— DRAWING— Open 
Drawing— Cone  Drawing— French  Drawing— OPEN  DR.AWING— Can  Gill  Box— Two  Spindle  Gill  Box— Faller  Used  in  Two 
Spindle  Gill  Bo.x — Slubbing — Drawing  F'rame — Roving  Machine — .Set  of  Drawing  Machinery — Combing  of  Carpet  Yarns — CONE 
DRAWING— Differential  Motion— FRENCH  DRAWING- Drawing  Frame  for  the  French  Process— Set  of  French  Drawing 
Machinery — First  Drawing  Frame — Second  Drawing  Frame— Slubbing  Frame— Roving  Frame — SPINNING — FLYER  SPIN- 
NING FRAME— CAP  SPINNING  FRAME— RING  SPINNING  FRAME— MULE— Difference  Between  English  and  French 
Drawing  and  Spinning— TWISTING. 

SILK. 

SILK,  ITS  ORDER  AND  CHARACTERISTICS— THE  MULBERRY  SILKWORM— Egg,  Larva,  Chrysalis  and  Adult— LARVA 
STATE— COCOON— SORTING— DF;sTROYING  THE  VI T.ALITY  OF  THE  CHRYSALIS— REELING— French  Reel— Lombardy 
Reel— Serrell's  Improved  Reel— RAW  SILK— CLE.^NING— DOUBLING— SPINNING  OR  TWISTING— Take-up  Attachment— 
TRAM— ORGANZINE— SILK  THROWING— SINGLF:  SILKS— SCOURING— BOILED-OFF  SILK— SOUPLE  SILK— ECRU 
SILK— SHAKING,  GLOSSING  AND  LUSTREING— WEIGHTING  OF  SILK— SILK  CONDITIONING— CHEMICAL  COM- 
POSITION—WASTE SILK— WILD  SILKS— Tussah— BLEACHING— Comparing  the  Silk  from  the  Bombyx  Mori  With  Wild 
Silk— CARDING,  COMBING,  DRAWING  AND  SPINNING— TEST  FOR  DISTINGUISHING  SILK  FROM  OTHER 
FIBRES— ILLUSTRATIONS  SHOWING  THE  DEVELOPMENT  OF  THE  EGG  INTO  LARVA,  CHRYSALIS  AND  ADULT. 

FLAX. 

FLAX,  ITS  ORDER  AND  CHARACTERISTICS— CHEMICAL  COMPOSITION— FLAX  PLANTED  FOR  FIBRE— FIBRES 
MAGNIFIED— PULLING— RIPPLING— RETTING— STEEPING-POLES— GRASSING— DEW  RETTING— COLD  WATER 
RF'TTING— SCUTCHING— Hand  Scutching— Hand  Break— Gavel  Holder— Scutching  Board— Machinery  Scutching- Power 
Breaks — Power  Scutchers — Improved  Machine  for  Scutching  Flax — FLAX  SPINNING,  Roughing,  Hackling,  Spreading, 
Carding,  Drawing,  Roving,  Spinning- ROUGHING  DEFINED— HACKLING— HACKLING  MACHINE— DOUBLE  ACTING 
HACKLING  MACHINE— SORTING— SPREADING— SPREAD  BO.ARD— GILLS— CARDING— BREAKER  CARDING  ENGINE 
—FINISHER  CARD— COMBINATION  CARD— COMBING— DRAWING— DRAWING  FRAME— ROVING  FRAME— LINESYS- 
TEM— SPINNING— WET  SPINNING  FRAME— DRY  SPINNING  FRAME— DRAWING  OF  LINE  AND  TOW  DURING 
SPINNING— REELING. 

JUTE. 

JUTE,  ITS  ORDER  AND  CHARACTERISTICS— Fibres  Magnified— Best  Place  of  Growth— STEEPING,  BEATING,  WASH- 
ING, DRYING— JUTE  SPINNING— Crushing  Machine— Softening— Jute  Line — Hackling,  Spreading,  Drawing,  Roving, 
Spinning— JUTE  TOW— CARDING— Breaker  Card— Finisher  Card. 

RAMIE. 

RAMIE,  ITS  ORDER  AND  CHARACTERISTICS- ITS  PLACE  OF  GROWTH— DECORTICATING— METHOD  AS  PRAC- 
TICED BY  THE  NATIVES— THE  USE  OF  THE  FIBRE— ITS  CULTIVATION— STATUS  OF  THE  RAMIE  INDUSTRY— 
F;ngland's  Opinion  of  Ramie— MACHINES  AND  PROCESSES  FOR  DECORTICATING  RAMIE  AS  EXHIBITED  AT  THE 
LATE   P.ARIS   EXPOSITION— AN  AMERICAN  MACHINE  FOR  DECORTICATING  ILLUSTRATED  AND  EXPLAINED. 

CHINAGRASS. 

CHINAGRASS,  ITS  ORDER  AND  CHARACTF.RISTICS— FIBRES  MAGNIFIED— STATUS  OF  THE  GROWTH  OF  THE 
PLANT  IN  CHINA— METHODS  OF  DECORTICATING— MACHINES  FOR  PREPARING  AND  SPINNING. 

HEMP. 

HEMP,  ITS  ORDER  AND  CHARACTERISTICS— PLACE  OF  GROWTH— Manila  Hemp— Piedmont  Hemp— Russian  Hemp— 
ITS  BEST  METHOD  OF  CULTIVATION— AMERICAN  GROWN  HEMP— Male  and  Female  Hemp— POWER  BRAKE— 
SPINNING— THE  USE  OF  THE  FIBRE  FOR  TEXTILE  PURPOSES. 


CALCULATIONS. 

GRADING  OF  THE  VARIOUS  YARNS   USED  IN  THE  MANUFACTURE  OF  TEXTILE  FABRICS, 
ACCORDING  TO  SIZE  OR  COUNTS. 

Kxplauatiou  of  their  basis. 

Tables  for  ascertaining  lengths  (number  of  yards  per  pound)  for  the  different 

counts. 
Twisted  Yarns. 

Rules  for  fiuding  the  weight  in  ounces  or  pounds  for  a  given  number  of  yards 

of  single  yarn  of  a  known  count. 
Rules  for  ascertaining  this  weig<it  in  ounces  or  pounds  for  a  2,  3  or  more  nly 
yarn  composed  of  minor  threads  of  equal  counts  or  minor  threads  of 
different  counts. 


A.  COTTON  YARNS. 

S.  WOOLEN  YARNS.  {-^,^"- 

C.  WORSTED  YARNS. 

n  SII  K  YARNS  ^P"" 

E.  LINEN  YARNS,  Jute,  Ramie,  etc. 


TO  FIND  THE  EQUIVALENT  COUNTS  OF  A  GIVEN    THREAD  IN  ANOTHER  SYSTEM. 

A.  COTTON,  WOOLEN  AND  WORSTED  YARNS. 

B.  SPUN  SILKS  COMPARED  TO  COTTON,  WOOLEN  OR  WORSTED  YARNS. 

C.  LINEN,  JUTE  AND  R.A.MIE  YARNS. 

n.  RAW  SILKS  COMPARED  TO  SPUN  SILKS,  COTTON,  WOOLEN  OR  WORSTED  YARNS. 

TO  ASCERTAIN  THE  COUNTS  OF  TWISTED  THREADS  COMPOSED  OF  DIFFERENT  MATERIALS 

A.  COMPOUND  THREAD  COMPOSED  OF  TWO  MINOR  THRE.^DS  OF  DIFFERENT  MATERIALS. 

B.  COMPOUND  THREAD  COMPOSED  OF  THREE  OR  MORE  MINOR  THREADS  OF  DIFFERENT  MATERIALS. 

TO  ASCERTAIN   THE  COUNTS  FOR  A  MINOR  THREAD  TO  PRODUCE  WITH  OTHER  GIVEN 
MINOR  THREADS  TWO,  THREE  OR  MORE  PLY  YARN  OF  A  GIVEN  COUNT. 

A.    ONE  SYSTEM  OF  YARN.       B.    TWO  OR  MORE  SYSTEMS  OF  YARNS. 

TO    ASCERTAIN   THE  AMOUNT    OF   MATERIAL   REQUIRED  FOR  EACH  MINOR  THREAD  IN 
LAYING  OUT  LOTS  FOR  TWO,  THREE  OR  MORE  PLY  YARN. 

A.  DOUBLE  AND  TWIST  YARN  j^-  Composed  of  minor  threads  of  the  same  material. 

(A.  Compo.sed  of  minor  threads  of  different  materials. 

B.  THREE  (OR  MORE)  PLY  YARN  -ft  Composed  of  minor  threads  of  the  same  material. 

^  '  I*.  Composed  of  minor  threads  of  different  materials. 

TO  ASCERTAIN  THE  COST  OF  TWO,  THREE  OR  MORE  PLY  YARNS. 

[  2,  3  OR  MORE  PLY  V.\RN  COMPOSED  OF  MINOR  THREADS  OF  EQUAL  COUNTS,  BUT  DIFFERENT  QUALITIES. 

2  PLY  YARN  COMPOSED  OF  MINOR  THRE.A.DS  OF  UNEQUAL  COUNTS  AS  WELL  AS  DIFFERENT  QUALITIES. 

2  PLY  YARN  COMPOSED  OF  MINOR  THREADS  OF  DIFFERENT  M.ATERIALS. 

3  OR  MORE  PLY  YARN  COMPOSED  OF  MINOR  THREADS  OF  UNEQUAL  COUNTS,   AS  WELL  AS  DIFFERENT 

QU.\LITI  ES. 

3  OR  MORE  PLY  Y.ARN  C0:MP0SED  OF  MINOR  THREADS  OF  DIFFERENT  MATERIALS. 

TO  FIND  THE  MEAN  OR  AVERAGE  VALUE  OF  YARN  OF  MIXED  STOCKS. 

TO  ASCERT.A.IN  THE  MEDIUM  PRICE  OF  A  MIXTURE  OF  WOOL  WHEN  THE  QU.ANTITY  AND    PRICE  OF  EACH 

INGREDIENT  ARE  GIVEN. 
TO  ASCERTAIN  THE  QUANTITY  OF  EACH  KIND  OF  WOOL  TO  USE  IN  A  MIXTURE  OF  A  GIVEN  VALUE. 
TO  ASCERTAIN  THE  QU-^NTITY  OF  E.^CH  KIND,  WHEN  THE  QUANTITY  OF  ONE  KIND,  THE  DIFFERENT 

PRICES  OF  EACH  KIND  AND  THE  PRICE  OF  THE  MIXTURE  ARE  GIVEN. 

REED  CALCULATIONS. 

BASIS  FOR  GRADING  REEDS. 

TO  FIND  ENDS  IN  WARP  WHEN  REED,  ENDS  PER  DENT  AND  WIDTH  OF  WARP  IN  REED  ARE  GIVEN. 

TO  FIND  REED,  IF  ENDS  IN  WARP,  AND  THE  WIDTH  OF  THE  WARP  IN  REED  ARE  GIVEN. 

TO  FIND  THE  WIDTH  OF  WARP  IN  REED,  IF  ENDS  IN  WARP,  REED  AND  ENDS  PER  DENT  ARE  GIVEN. 

TO  CALCULATE  WEIGHT,  COUNTS,  COST.,  ETC.,  OF  WARP.  ^ 

TO  FIND  THE  WEIGHT  OF  WARP,  IF  NUMBER  OF  ENDS,  COUNTS  AND  LENGTH  ARE  GIVEN. 

a.    Using  one  kind  of  j'arn.       d.    Using  two  or  more  kinds  of  yarns. 
TO  FIND  THE  COUNTS  FOR  WARP  YARN,  IF  NUMBER  OF  ENDS  IN  WARP,  AMOUNT  OF  MATERIAL,  LENGTH 

AND  WEIGHT  TO  BE  USED  ARE  GIVEN. 
TO  FIND  THE  NUJIBER  OF  THREADS  IN  WARP  TO  USE,   IF  COUNTS  OF  YARN,  LENGTH  AND  WEIGHT  OF 

WARP  ARE  GIVEN. 

TO  FIND  THE  LENGTH  FOR  A  WARP,  IF  NUMBER  OF  ENDS  IN  WARP,  COUNTS  AND  WEIGHT  OF  YARN  ARE 
GIVEN. 

TO  FIND  THE  COUNTS,  NUMBER  OF  THREADS  IN  WARP  OR  LENGTH  OF  WARP,  WHEN  TWO  OR  MORE  MATE- 
RIALS ARE  USED  IN  THE  CONSTRUCTION  OF  A  CLOTH. 

TO  CALCULATE  WEIGHT,  COUNTS  AND  COSTS  OF  FILLING. 

TO  FIND  THE  LENGTH  OF  Y.\RN  REQUIRED  FOR  PRODUCING  ONE  OR  A  GIVEN  NUMBER  OF  YARDS  OF 

CLOTH,  IF  PICKS  PER  INCH  AND  WIDTH  OF  CLOTH  IN  REED  (including  selvage)  ARE  GIVEN. 
TO  FIND  THE  WEIGHT  OF  Y.\RN  REQUIRED,  EXPRESSED  IN  OUNCES,  PRODUCING  ONE  Y.\RD  OF  CLOTH,  IF 

PICKS  PER  INCH,  WIDTH  OF  CLOTH  IN  REED  AND  THE  COUNTS  OF  YARN  ARE  GIVEN. 
TO  FIND  THE  WEIGHT  OF  YARN  REQUIRED,  EXPRESSED  IN  POUNDS  OR  KRACTIONS  THEREOF,  FOR  ANY 

NUMBER  OF  GIVEN  Y.\RDS  IF  PICKS  PER  INCH,  WIDTH  OF  CLOTH  IN  REED  AND  COUNTS  OF  YARN 

ARE  KNOWN. 

TO  ASCERTAIN  WEIGHT  OF  MATERL-^L  FOR  EACH  KIND,  IF  TWO  OR  MORE  DIFFERENT  KINDS  OF  YARN  ARE 

USED.       a.    Same  counts.       />.    Different  counts  or  materials. 
TO  ASCERTAIN  THE  COUNTS  FOR  A  Y.\RN  REQUIRED  TO  PRODUCE  A  CERTAIN  GIVEN  WEIGHT  (expressed  in 

ounces)  PER  YARD  CLOTH  WOVEN,  THE  PICKS  PER  INCH  AND  THE  WIDTH  OF  WARP  IN   REED  BEING 

GIVEN. 


TO  ASCKRTAIX  THK  COUNTS  FOR  A  YaKN,  TO  A  GIVKN  NUMBER  YARDS  OF  CI.OTH  WITH  A  GIVEN  WEIGHT 
EXPRESSED  IN  POUNDS. 

TO   FIND   THE   PICKS   PER   INCH  FOR  A  CLOTH  IN  WHICH  COUNTS  OF  YARN,   LENGTH  OF  CLOTH  TO  BE 
WOVEN,  WIDTH  IN  REED  AND  AMOUNT  OF  MATERIAL  TO  BE  USED  ARE  GIVEN. 
a.    Dealing  with  oue  counts  of  yarn. 
,      b.    Dealing  with  two  or  more  kinds  of  filling  of  different  counts,  the  repeat  of  pattern  being  short. 

c.    Dealing  with  two  or  more  kinds  of  filling  of  different  counts,  and  of  a  long  and  varied  arrangi-ment  of  pattern. 
TO  FIND  YARDS  OF  CLOTH  WOVEN,  A  GIVEN  AMOUNT  OF"  YARN  ON  HAND  WILL  PRODUCE. 

TO  CALCULATE  THE  AMOUNT  AND  COST  OF  MATERIALS  USED  IN  THE  CONSTRUCTION  OF 
FABRICS,  OR  PRACTICAL  APPLICATIONS  OF  WARP  AND  FILLING  CALCULATIONS. 

To  FIND  TOTAL  COST  OF  MATf;rIALS  USED  IN  THF;  CON.STRUCTION  OF"  A  FABRIC. 
/>'.    TO  I  INI)  THF;  COST  PER  YARD  OF  FINISHED  CLOTH. 

f,xami'lf;s  : 
fancy  cassimere  | 

WORSTED  SUITING  [  Length  of  warp  as  dressed,  and  length  of  cloth  woven 

COTTON  DRE;sS  GOODS  [        and  finished,  being  given  in  yards. 

WOOOLEN  TRICOT  SUITING  J 

WORSTED  SUITING  )  Length  of  cloth  woven  and  finished  to  be  ascertained 
FANCY  CASSIMERE  by  percentage. 

FANCY  COTTON  DRE;sS  GOODS    1  <^i\i"&  a  practical  application  of  calculating  for  different 

)        "  take-ups  "  of  warp  during  weaving. 
TO  CALCULATE  THE  TOTAL  COST  OF  MANUFACTURING. 

A.  FOR  A  PIFX'E  OF  CLOTH. 

B.  PER  Y.\RD  FINISHED  CLOTHr 

EXAMPLES:    WORSTED  SUITINC ;— BF;aVF:r  OVERCOATING— CARPETS. 

THE  STRUCTURE  OF  TEXTILE  FABRICS. 

TO  .\SCERTAIN  THF;  PURPOSF;  of  wear  FOR  THE  FABRIC. 
TO  ASCERTAIN  THIi  N.\T' 'RE  OF  THF:  RAW  MATERL^LS. 

COUNTS  OF  YARN  REQUIRED  TO  PRODUCE:  A  PERFECT  .STRUCTURE  OF  CLOTH. 

TO  FIND  THE  NUMBER  OF  ENDS  IN  COTTON,   WOOLEN,  WORSTED,  LINEN  AND  SILK  YARNS,  WHICH  WILL 

PROPERLY  LIE  SIDE  BY  SIDE  IN  ONE  INCH, to  find  the  diameters  for  the  various  yarns  by  their  counts. 
TABLE  giving  the  relative  diameters  of  COTTON  YARNS  from  single  5's  to  2  /  i6o's. 
fABLFC  giving  the  relati\e  diameters  of  SPUN  SILKS  form  5's  to  8o's  in  single  or  any  ply. 
T.\BLF:  giving  the  relative  diameters  of  WOOLEN  YARNS  (RUN  SYSTEM)  from  1  run  to  10  run. 
TABLF;  giving  the  relative  diameters  of  WOOLEN  V.\RNS  (CUT  SYSTEM)  from  6  cut  to  50  cut. 
TABLf;  giving  the  relative  diameters  of  WORSTED  YARNS  from  single  5's  to  2/  i6o's. 
table:  giving  the  relative  diameters  of  RAW  SILKS  from  20  dram  to  i  dram. 
table;  giving  the  relative  diameters  of  LINEN  YARNS  from  lo's  to  ioo's=2/5's  to  2/200's. 

TO  FIND  THE  DIAMETER  OF  A  THRF;aD  BY  MEANS  OF  THE  GIVEN  DIAMETER  OF  ANOTHER  COUNT  OF  YARN. 
TO  FIND  THE  COUNTS  OF  YARN  REQUIRED  FOR  A  GIVEN  WARP  TEXTURE,  BY  MEANS  OF  A  KNOWN  WARP 

TEXTURE  WITH  THE  RESPECTIVE  COUNTS  OF  YARN  GIVEN. 

a.    If  dealing  with  one  kind  of  yarn.       6.    If  dealing  with  two  (or  more)  kinds. 
INFLUENCE  OF  THE  AMOUNT  AND  DIRECTION  OF  TWIST  OF  YARNS  UPON  THE  TEx:TURE  OF  A  CLOTH. 
TO  FIND  THE  AMOUNT  OF  TWIST  FOR  A  YARN,  IF  THE  COUNTS  AND  TWIST  OF  ANOTHER  YARN  OF  THE 

SAME  SYSTEM  ARF:  GIVFCN. 
INFLUENCE  OF  THE  WE.AVE  UPON  THE  TEXTURE  OF  A  FABRIC. 
TO  FIND  THE  TEXTURE  (ENDS  PER  INCH)  FOR  A  F.\BRIC. 

TO  FIND  THE   TEXTURE  FOR  A   NKW  WEAVE   FROM   A   GIVEN  PERFECT   STRUCTURE,  USING  THE  SAME 
COUNTS  OF"  YARN  FOR  BOTH  F.\BRICS. 

TO    CHANGE  THE   WEIGHT  OF   A    FABRIC   WITHOUT  INFLUENCING  ITS  GENERAL   APPEARANCE,  AND  TO 
FIND  THE  NUMBER  OF  ENDS  PER  INCH  IN  THE  REQUIRED  CLOTH. 

table;   SHOWING  WEAVES  WHICH  WILL  WORK  WITH  A  UNIFORM   (STANDARD)   TEXTURE   OF   THF;  COM- 
MON TWILLS  r  etc. 

3,  3, 

SELECTION  OF  THE  PROPER  TEXTURE  FOR  FABRICS  INTERLACED  WITH  SATIN  WEAVES. 
SELECTION  OF  THE  PROPER  TEXTURE  FOR  FABRICS  INTIJRLACED  WITH  RIB  WEAVES. 

a.    Warp  effects.       d.    Filling  effects.      r.    Figured  rib  weaves. 
SELECTION  OF  THE  PROPER  TEXTURE  FOR  FABRICS  INTERLACF;d  .  WITH  CORKSCREW  WEAVES. 
SELECTION  OF  THE  PROPER  TEXTURE  FOR  FABRICS  CONSTRUCTED  WITH  ONE  SYSTEM  WARP  AND  TWO 
SYSTEMS  OF  FILLING. 

SELECTION  OF  THE  PROPER  TEXTURE  FOR  FABRICS  CON.STRUCTED  WITH  TWO  SYSTEMS  OF  WARP  AND 

ONE  SYSTEM  OF  FILLING. 
SELECTION  OF  THE  PROPER  TEXTURE  FOR  DOUBLE;  CLOTH  FABRICS. 

ARITHMETIC. 

(SPEC/ALL)-  ADAPTED  FOR  TEXTILE  PURPOSES). 
ADDITION— SUBTRACTION— MULTIPLICATION— DIVISION. 
PARENTHESIS  OR  BRACKETS— PRINCIPLE  OF  CANCELLATION. 
COMMON  FRACTIONS,  definition,  addition,  subtraction,  multiplication,  division. 
DECIMAL  FRACTIONS,  definition,  addition,  subtraction,  multiplication,  division. 
SQUARE  ROOT— CUBE  ROOT. 

AVER-A-GF:  AND  percentage:— RATIO— PROPORTION— ALLIGATION. 
U.  S.  MEASURES— METRIC  SYSTEM  OF  MEASURES. 


Addres.s  all  orders  to  E.  A.  POSSELT,  Publisher, 

'^15'4  N.  ^Ist  street,  Pliilaaelpliia. 


 LIST  OF  ILLUSTRATIONS  TO  

The  Structure  of  Fibres,  Yarns  and  Falirics 

Being  a  practical  treatise  for  the  uae  of  all  i)ersons  employed  in  the  manufacture 

of  Textile  Fabrics. 

IN  TWO  VOLUM"eS~BOUND  IN  ONE. 

VOL.  I. — Being  a  description  of  the  growth  and  manipulation  of  Cotton,  Wool,  Worsted,  Silk,  Flax,  Jute,  Ramie, 
Chinagrass  and  Hemp. 

VOL.  n. — Dealing  with  all  Manufacturers'  Calculations  for  every  class  of  material,  also  giving  minute  details 
for  the  structure  of  all  kinds  of  Textile  Fabrics.  Containing  also  an  appendix  of  Arithmetic  specially  adapted  for 
Textile  purposes,  and  a  complete  Dictionary  on  Textile  subjects  in  its  Glossary. 

 BY  

E.  A.  POSSELT, 

//cad  Master  Textile  Drpartntcnt  Pennsylvania  Musciun  and  School  of  /ndustrial  Art,  Philadelphia,  Pa.  ; 
Author  and  Publisher  of  "  The  Technology  of  Textile  Design  ;  '    "  The  Jacquard  Machine 
Analyzed  and  Explained,  The  Preparation  of facquard  Cards  and  Practical  /Tints 
tj  Learners  of  Jacquard  Designing,"  etc.,  etc. 


LIST  OF  /LLUSTJJAT/O/^S  TO  VOL.  /. 


Fig. 


Cotton. 


PAGE  I  Fig. 


PAGE 


1  Gossypium  Barbadense  

2  Sea  Island  Cotton  Plant  

3  Gossypium  Herbaceum  (Indian  Species)  

4  Gossypium  Herbaceum  (European  Species)  

5  Illustration  of  Length  of  Staple  of  Sea  Island,  Up- 

lands, Peruvian,  Egyptian  and  Indian  Cottons. 

6  Sea  Island  Cotton  Magnified  

7  Upland  Cotton  Magnified  

8  Sural  Cotton  Magnified  

9  A.  Unripe  Cotton  F'ibre ;  B.  Half-ripe  Cotton 

Fibre ;  C.  Ripe  Cotton  Fibre,  Magnified  

10  Transverse  Sections  of  Ripe  Cotton  Fibres  

11  Transverse  Sections  of  Unripe  Cotton  Fibres  

12  Structureless  Cotton  Fibre  Magnified  

13  Transverse  Sections  of  Cotton  Fibres  After  Treat- 

ment with  Caustic  Alkalies  

j  Side  Elevation  of  Seed  Cotton  Cleaner  

/  Central  Longitudinal  Section  of  Cotton  Cleaner 

f  End  View  of  Seed  Cotton  Cleaner  

I  Vertical  Longitudinal  vSection  of  Seed  Cotton 

\  Cleaner  

I  Discharge  Spout  or  Guide  of  Seed  Cotton 

[  Cleaner  

Vertical  Sectional  View  of  Seed  Cotton  Cleaner... 

20  Sectional  View  of  Saw-Gin  

21  Perspective  View  of  Brush  for  Saw-Gin  

Inside  Elevation  of  Portion  of  a  Bristle-Holder 

for  a  Saw-Gin  Brush  

Trans\'^rse  Section  of  a  Bristle-Holder  for  a 

Saw-Gin  Bru.sh  

End  Elevation  of  Brush  Cylinder  

Device  for  Oiling  Saw-Gins  

f  Improved  vSaw-Gin  for  Discharging  Cotton  in 

I      Two  or  More  Qualities  

j  Detailed  Drawing  of  Brush  and  Condensing 

[     Roll  for  Improved  vSaw-Gin  

2S  Sectional  View  of  Macarthy  Gin  

29  r  Perspective  View  of  Improved  Macarthy  cr 
J  Comb-Gin  

30  1  Sectional  View  of  Improved  Macarthy  or 
[  Comb-Gin  

^i  Perspective  View  of  Macarthy  Double  RoUer-Giu 

(CONTIN 


13 
13 
14 
14 

15 
15 
15 
15 

16 
16 
16 
16 

16 
16 
17 
17 


17 
18 
18 
19 

19 

19 
19 

20 


20 
21 


21 
22 
UEO  ON 


32        f  Automatic  Self-Feeder  for  Cotton-Gins   22 

\  Perspective  Views  of  Feed-Regulators  for 

33i  34         Self- Feed   22 

35  Side  Elevation  of  Feed-Regulator  for  Cotton-Gins  23 

36  Perspective  View  of  Bale-I5reaker   23 

37  Side  Elevation  of  Crightou  Opener   24 

38  Plan  of  Crigliton  Opener   24 

39  Perspective  View  of  P^xhaust-Opeuer,  Breaker- 

Picker  and  Lap-Machine  Combined   25 

40  Perspective  View  of  Another  Exhaust-Opener, 

Picker  and  Lap-Machine  Combined   26 

41  Diagram  Illustrating  the  Principle  of  Picking...  27 

42  Perspective  View  of  Finisher-Picker  and  Lap- 

Machine  Combined   28 

43  f  Section  in  Detail  of  Piano- Feed   29 

44  -  Rear  View  of  Piano-Feed   29 

45  (  Regulator  for  Feeding   29 

46,  47  Diagrams  Illustrating  Principles  of  Actions  of 

Card  Clothing   30 

48,  49  Diagrams  Illustrating  Mode  of  Making  Point- 
ed Card  Teeth   30 

50  Diagram  of  Roller-Card    31 

5 1  Diagram  of  the  Method  of  Action  of  Workers  and 

Clearers  in  the  Process  of  Carding   31 

52  Diagram  of  the  Working  Parts  of  a  Revolving 

Flat  Carding  Engine   32 

53  Perspective  View  of  Revolving   Flat  Carding 

Engine  (.American  Build)   33 

54  Perspective  View  of  Revolving   Flat  Carding 

Engine  (Enghsh  Build)   34 

55  Sectional  View  of  Setting  Arrangement  for  Re- 

volving Flats   35 

56  Front  View  of  Setting  Arrangement  for  Revolv- 

ing Flats   35 

57  Revolving  Flat  Clearer  for  Revolving  Flat  Cards  36 

58  Perspective  View  of  Top  Flat  Card,  provided 

with  the  Falls  Patent  Double  Rack   36 

59  Diagram  of  Combination  Card   37 

60,61  Perspective  Views  of  Combination  Card         38,  39 

62  Perspective  View  of  Lap  Winder   40 

63  Perspective  View  of  Railway  Head   40 

64  Illustration  in  Detail  of  Railway  Head   41 

NEXT  PAGE) 


Fig.  page  Fig. 

65  Perspective  View  of  Card  Clothing  Mounting 

Machine  with  Tension  Apparatus   42 

66  Perspective  View  of  Traverse  Emery  Wheel  Card 

Grinder    43 

67  Traverse  Emery  Wheel  Card  Grinder  placed  to 

a  Carding  Engine  for  Grinding  Doffer  and  Swift.  43 

68  Perspective  View  of  Card  Grinding  Machine  for 

Top  Flats  and  Rollers   43 

69  Diagram  of  Working  Parts  of  the  Heilmann  Comb  44 

70  Perspective  View  of  Dobson  and  Barlow's  Comb..  45 

71  Diagram  of  Working  Parts  of  the  Inib's  Comb....  46 

72  Perspective  View  of  Ribbon-Lapper   47 

73  Diagram  Illustrating  the  Principle  of  Drawing  ...  48 

74  Perspective   View  of  Drawing-Frame  (English 

Build)   49 

75  Perspective  View  of  Drawing-Frame  (American 

Build)   50 

76  Section  of  Working  Parts  of  Drawing-Frame, 

also  of  Front,  Back  and  Can  Stop-Motions   50 

77  Perspective    View    of    Drawing-Frame  with 

Electric  Stop-Motion   52 

78  Perspective  View  of  Slubbing- Frame  (Fly-Frame 

system)   53 

•  79  Perspective  View  of  Intermediate  Frame  (Speeder 

System   54 

80  Perspective  View  of  Roving  Frame  (Flyer  Sys- 

tem) (American  Build)   54 

81  Perspective  View  of  Roving  Frame  (Flyer  Sys- 

tem) (English  Build  1   55 

82  Perspective  View  of  Spindle  and  Flyer  of  a 

Speeder    56 

83  Perspective  View  of  a  Flyer  for  Fly  Frames   56 

84  Diagram  of  Holdsworth's  Differential  Motion   57 

85  Perspective  View  of  the  New  Differential  Motion  58 

86  Diagram  of  Working  Parts  in  a  Common  Fly- 

Throstle   59 

87  Perspective  View  of  a  Ring-Traveller   60 

88  Perspective  View  of  a  Ring  for  Ring-Frames   60 

89  Perspective  View  of  Ring- Frame   60 

90  f  Elevation  of  Sawj'er  Spindle   61 

91  Section  of  Sawyer  Spindle   61 

92  Elevation  of  Rabeth  Spindle   62 

93  J  Section  of  Rabeth  Spindle   62 

94  '  Elevation  of  Shennau  Spindle   62 

95  vSection  of  Sherman  Spindle   62 

96  Elevation  of  Whitin  Spindle   63 

97  [  Section  of  Whitin  Spindle   63 

98  Perspective  View  of  Doyle's  Separator   63 

99  Perspective  View  of  Cumming's  Separator   64 

100  Diagram  of  Stop-Motion  for  Delivery  of  Roving 

in  Spinning  Frames   65 

Plan  View  of  a  Tension  Regulating  Device  for 

Spindle-Driving  Bands   66 

Perspective  View  of  a  Portion  of  a  Tension 

Regulating  Device   66 

103  Perspective  View  of  a  Mule  Illustrating  its  Method 

of  Operation   67 

104  Diagram  Illustrating  the  Building-Up  of  a  Cop...  67 

105  Perspective  View  of  Improved  Mule   68 

106  Perspective  View  in  Detail  of  Headstock  of  Mule  69 

107  Perspective  View  of  Ring- Twister   72 

Wool. 

108  Lock  of  Wool   73 

109  Wool  Fibre  Showing  Wave  of  Crimp   73 

I  ID  F'ibres  Greatly  Magnified,  Showing  their  Serrated 

Surface   73 

111  Fibre  Bent  to  Clearly  Show  Scales   73 

112  Scales  of  Fibres  Interlocking   73 

113  f  Wool  Fibre  Treated  with  Caustic  Soda  to  lUus- 
<      trate  Serations  Distinctly   74 

114  (  Transverse  Section  of  Wool  Fibre   74 

115  C  Hair  Treated  with  Caustic  Soda  to  Illustrate 
-j      Serrations  Distinctly   74 

116  (  Transverse  Section  of  Hair   74 

(CONTINUED  ON 


PAr-E 

17  Untrue  Wool  Fibres   78 

1 8  Epithelial  Scales,  Serrated  by  Treatment  with  Sul- 
phuric Acid   79 

19  j         Illustrations  showing  the 

20  (  Influence  of  Sulphuric  Acid  Upon  Wool  Fibres  80 

21  Argali   81 

22  Big-Horn  or  Rocky  Mountain  Sheep   81 

23  Aoudad  or  Bearded  Argali   82 

24  Rocky  Mountain  Goat   82 

25  American  Merino   84 

Lincoln  Sheep   84 

Fibre  from  Shoulders  of  a  Well-Bred  Lincoln 

Sheep   84 

Fibre  from   Britch  of  a  Well-Bred  Lincoln 

■j      Sheep   84 

Fibre  from  Shoulders  of  a  Poorly-Bred  Lin- 
coln Sheep   84 

Fibre  from  Britch  of  a  Poorly-Bred  Lincoln 

[  Sheep   

j  Leicester  Sheep  

I  Fibres  from  the  Leicester  Sheep  

Cotswold  Sheep  (English  Breed)   85 

Cotswold  Sheep  (American  Breed)   86 

Fibres  from  the  Cotswold  Sheep   85 

(  Oxford-Down  Sheep   87 

(  Fibres  from  the  Oxford-Down  Sheep   87 

f  South-Down  vSheep   87 

I  Fibres  from  the  Choicest  Part  of  Fleece  of  a 

■{      South-Down  Sheep   87 

I  Fibres  from  the  Coarsest  Part  of  Fleece  of  a 

I     South-Down  Sheep   87 

Cheviot  Sheep   87 

(  Fat  Tailed  Sheep   88 

/  Fibres  from  the  Fat  Tailed  Sheep   88 

44  Walachian  Sheep   88 

45  Spanish  Merino  (with  Fleece  Graded)   89 

46  Saxon  Merino   90 


84 
85 
85 


47 


Fibres  of  Botany  Wool  from  the  Choicest  Part 

of  Fleece   91 

Fibres  of  Botany  Wool  from  the  Coarsest  Part 

of  Fleece   91 

American  Merino   91 

Fibres  from  the  Choicest  part  of  Fleece  of  an 

American  Merino   91 

Fibres  from  the  Coarsest  Part  of  Fleece  of  an 

American  Merino   91 

Cashmere  Goat   92 

Fibres  from  the  Cashmere  Goat   92 

Angora  Goat   93 

Fibres  from  the  Angora  Goat   93 


j  Vicugna    94 

/  Fibres  from  the  Vicugna   94 

Llama   94 

(  Alpaca  or  Paco   95 

t  Fibres  from  the  Alpaca   95 

Domestic  Sheep  with  Fleece  Graded   95 

J  Wool  Fibres  Before  Scouring   97 

t  Wool  Fibres  After  Scouring   97 

Healthy  Wool  Fibre   98 

Wool  Fibre  Treated  with  Alkaline  Carbonates  98 
Wool  Fibre  Treated  with  Boiling  Water   98 

68  Rake  Scouring  Machine   100 

69  Hydraulic  Scouring  Machine   loi 

70  Hydro-Extractor   103 

71  Perspective  View  of  Screen  or  Table  Dryer   103 

(  Side  Elevation  of  Screen  or  Table  Drj-er   103 

/  End  Elevation  of  Screen  or  Table  Dryer   103 

r  Side  Elevation  of  an  Automatic  Continuous 
I     Wool  Dryer   104 

Isometric  Perspective  View  of  Automatic  Cou- 
[    tinuous  Wool  Dryer   104 

76  Sectional  View  of  Automatic  Continuous  Wool 
Dryer   106 

77  Wool  Dryer  for  Carbonizing  Purposes   107 

78  Penspective  View  of  Burr-Picker   109 

NEXT  PAGE)' 


Fig.  page 

I'g  Section  of  Burr-Picker   no 

iSo  Section  of  JUirr-Picker   in 

i8i  Section  of  Self-l'"e«ed  for  lUirr-Pickers,  Mixiug- 

Pickers  and  Scouring  Machines   H2 

1S2  Perspective  \'ie\v  of  Straight  Duster   112 

183  Perspective  View  of  Cone  Duster   113 

184  Principle  of  Mixing   114 

185  f  End  Elevation  of  an  Atomizing  Wool-Oiler   115 

-  Plan  of  Oiler  Section  of  an  Atoniizintr  Wool- 

I     Oil.r     115 

1S7  Perspective  View  of  Wool-Picker   116 

188  Persjiective  View  of  Another  Wool-Picker    117 

5S9  Woolen  Yarn  Magnified   118 

190  Method  of  p'eeding  Breaker  Cards  liy  Hand   118 

191  Automatic  Method  of  Feeding  Breaker  Cards   118 

192  Perspective  View  of  Bram well  Self- Feed   119 

193  I  Perspective  View  of  Peckhani  Automatic  Feed- 

)     er  [Receiving  End]   120 

194  ']  PersDccti  ve  View  of  IVckliani  Automatic  Feed- 

(_    er  [Distributing  End]   121 

195  1  Perspective  View  of  Leniaire  Feeder   121 

196  /  Sectional  View  of  Lemaire  Feeder   122 

197  Card  Clamp   122 

198  Hammers   122 

199  Cart  Ratchet   122 

ioo     First  Breaker  Carding  Engine  with  Self-Feed 

Attached   122 

201  Second  Breaker  Carding  Engine  with  Bank- 

Creel  and  Balling-Head   123 

202  Finisher  Carding  Engine  with  Apperly  Feed 

Attached   123 

203  Illustration,  with  Explanation  in  Detail,  of  a  First 

Breaker  Carding  Engine   123 

204  Sectional  View  of  a  F'irst  Breaker  Carding  Engine  124 

205  Action  of  a  Worker  aud  Stripper  Upon  the  Mate- 

rial   124 

206  Perspective  View  of  a  Lap  Winder   125 

207  Perspective  View  of  a  Back-vStaud   125 

208  Perspective  View  of  a  Single  Burring  Device   126 

209  Sectional  View  of  a  Single  Burring  Device   126 

210  Perspective  View  of  F'eed  Rolls   126 

211  Sectional  View  of  Feed  Rolls   126 

2!2  Perspective  View  of  Single  Burring  Device  with 

Feed  Rolls  Attached   127 

213  Sectional  View  of  a  Single  Burring  Device  with 

Feed  Rolls  Attached   127 

2:4  Perspective  View  of  Double  Burring  Device  with 

F'eed  Rolls  Attached    127 

215  »S  actional  View  of  Double  Burring  Device  with 

Feed  Rolls  Attached   12S 

216  Sec'tional  View  of  Retainer  Roll  Attached  to  a 

First  Breaker  Card   128 

217  Metallic  Breast   129 

218  Burring  Machine  and  Metallic  Breast  Combined...  129 

219  Roving  Spool   131 

220  Detailed  Illustration  of  Double  Deck  Condensing  131 

221  1  Principle  of  vSingle  Doffer  Double  Rubber  Con- 

densing   132 

222  (  Perspective  View  of  the  Rubbers   132 

223  (  Principle  of  Single  Doffer  Single  Rubber  Con- 

densing   132 

224  (  Perspective  View  of  the  Rubbers   133 

225  Perspective  View  of  a  Finisher  Carding  Engine 

with  a  Three-Doffer  Condenser  Attached   133 

226  vSectional  View  of  a  Finisher  Carding  Engine  with 

a  Three-Doffer  Condenser  Attached   134 

227  Condensing  by  IMeans  of  Aprons   134 

22S  Condensing  by  Means  of  Apron  and  Roll   134 

229  vSectional  View  of  Bolette  Condenser  with  Single 

RuTjbers   136 

230  f  Sectional  View   of  Bolette   Condenser  with 

{     Doublf  Rubbers   137 

231  I  Perspective  View  of  Bolette  Condenser  with 

I     Double  Rubbers   138 

232  Perspective   View  of  Latest  Improved  Bolette 

Condenser   138 


(CONTINUED 


PAGB 


233  Sectional  View  of  Latest  Improved  Bolette  Con- 

denser  I3g 

234  Card-Grinder  and  Turning-Lathe  Combined    140 

235  Iniproved  Traverse  Emery  Wheel  Card-Grinder  140 

236  Perspective  View  of  Shoddy-Picker   142 

237  Perspective  View  of  Garnett  Machine   142 

238  Sectional  View  of  (  jarnett  Machine    143 

239  Penspective  View  of  Waste-Duster   144 

240  Front  View  of  Mule   145 

241  Rear  View  of  Mule   146 

242  Right-Hand  Side  View  of  Mule   146 

243  Bancroft  Mule   147 

244  j  Front  View  of  Spinning  Machine   148 

245  I  Back  View  of  vSpinning  Machine   148 

246  Spinning  Machine  Attached  to  Finisher-Card   149 

247  Spooler   150 

248  Ring-Twister   150 

249  Bobbin-Winder   151 

Worsted 

250  Worsted  Thread  [Magnified]  Made  Out  of  Long 

and  Strong  Fibres   152 

251  Worsted  Thread  [Magnified]  Made  Out  of  Fine 

and  Short  Fibres   152 

252  Perspective  View  of  Worsted  Carding  Engine   153 

253  Sectional  View  of  Worsted  Carding  lingine:   154 

254  Combined  Back  Washing  and  Screw-Gill-Balling 

Machine   154 

255  Preparer   155 

256  Faller   155 

257  Improved  Device  for  Operating  Fallers   155 

258  Hand  Comb    157 

259  General  View  of  Lister's  Nip  Comb    158 

260  Sectional  View  of  Lister's  Nip  Comb   158 

261  Another  Sectional  View  of  Lister's  Nip  Com!)   159 

262  Carrying-Comb  for  Lister's  Nip  Comb   160 

263  Another  View  of  Carrying- Comb  for  Lister's  Nip 

Comb   160 

264  A  Third  View  of  Carrying-Comb  for  Lister's  Nip 

Comb   160 

265  Front  View  of  a  Faller  for  Lister's  Nip  Comb   160 

266  Top  View  of  a  Faller  for  Lister's  Nip  Comb   160 

267  Square-Motion  Comb   161 

268  Noble  Comb  [Empty  Machine]  English  Make...  161 

269  Noble  Comb  [Filled  Machine]  American  Make...  163 

270  Balling  Machine   163 

271  Diagram  of  Circles  of  Noble  Comb   164 

272  Perspective  View  of  Dabbing  Brush  and  Sectional 

View  of  its  Motion   165 

273  1888  Comb   166 

274  Little  and  Eastwood's  Comb   166 

275  Balling  F'inisher   167 

276  Can-Gill  Box   168 

277  Double  F'aller  for  Can-Gill  Box    168 

278  Two-Spindle  Gih  Box   168 

279  Faller  Used  in  Two-Spindle  Gill  Box   168 

280  Six-vSr indie  Drawing  Frame   169 

281  Roving  Machine   169 

282  Diagram  of  the  Principle  of  French  Drawing    170 

283  Method  of  Operation  of  Back,  Porcupine  and 

Front  Rollers   170 

284  Drawing  Frame,  French  Sy.stem    171 

285  Diagram  of  the  Principle  of  Fly-Spinning   172 

256  Cap  Frame   173 

257  Principle  of  Cap  Spinning   173 

28S  Elevation  of  Bates  Spindle   173 

289  Section  of  the  Bates'  Spindle  [Except  the  Spindle 

Itself]   173 

290  Principle  of  Ring  Spinning   173 

291  Principle  of  Mule  Spinning   175 

Silk 

292  Mulberry  Silk  Worm   176 

293  Cocoon   176 

294  Chry.salis   176 

N  NEXT  PAGE) 


Fig.  pack 

295  vSectionof  Cocoon   177 

296  Silk  Thread  as  Placed  by  the  Worm   177 

297  Motl   177 

29S  Silk  Thread  Magnified-.   178 

299  Plan  of  French  Reel   179 

300  Section  of  PYencli  Reel   179 

301  Improved  Lombardy  Hand-Reel   180 

302  Side  View  Partly  in  Sec-  I 

tion  j    iSi 

303  Plan  View  of  a  Portion  | 

of  the  I    iSi 

304  Sectional   Elevation   of  )■        Latest  Improved 

a  Portion  of  the  |  Silk  Reeling  Machine  181 

305  Electric  Devices  of  the  I    182 

306  vSectional  Plan  of  Parts  | 

of  the  J    182 

307  Diagram  of  a  Cleaning  Device  for  Raw  Silk   183 

308  Transverse  vSection  of  Take-Up  Attachment  for 

Spinning  Frame*-   184 

309  Hydro  Extractor   185 

310  Stringing  Machine   186 

311  I/Ustreing  Machine   186 

312  Tussah  Silk  [Magnified]   188 

.^s  Illustrations  showing  the  gradual  development  of  the  ]  igg 
EKg  (or  Seed  I  into  I.arva  (or  Worm)  Chrysalis  (or  Cocoon)  \ 
and  Adult  (or  Mothi   |  190 

Flax. 

313  Flax  as  Planted  for  F'ibrc   191 

314  F'lower  of  Flax   191 

315  Seed  Boll — a.  Cut,  d.  Uncut   191 

316  Flower  Cut  Lengthwise  Through  Centre   191 

317  Fibres  Magnified   191 

318  Haiid-Rrake   194 

319  Gavel-Holder   194 

330  Scutching- Board   194 

321  ) 

322  \  Different  Patterns  of  Scutcliing  Knives   194 

323  J 

324  (  Power-Brake   194 

325  •<  Another  Style  of  Power-Brakf   194 

326  (  Improved  Power-Brake   194 

327  j  Power-Scutcher   194 

328  (  Another  Style  of  Power-Scutcher   195 


Fig. 


329  Side  View. 

330  End  View 

331  Plan  of 

332  Part  Side  View  in  Detail.        j  Improved  Power- 

333  Part  Plan  View  in  detail  (  Scutcher  

334,  335,  336,  337  Transverse  Sec-  | 

tions  of  Parts  of  j   

338  Hackling  Machine  

339  Double- Acting  Hackling  Machine  

340  Spread-Board   

341  Top  View  of  Fallers  and  Working-Screws  

342  Side  View  of  Working-Screws  

343  Modus  Operandi  for  Raising  Falleis  

344  Front  View  of  a  Faller  and  Section  of  Working- 

Screws  

345  Carding  Engine  

346  Comh)inatioii  Card  

347  Drawing  Frame  

348  Roving  Frame  

349  Flyer  

350  Line  System  

351  Wet  Spinning  Frame  

352  Diagram  Showing  the  Difference  of  Spinning 

Either  Warp  or  Filling  

353  Dry  vSpinning  FVame  

354  Reeling  

Jute. 

355  Plant  

356  Fibres  Magnified  

357  Top  View  of  Crushing  Machine  

358  vSectional  View  of  Crushing  Machine  

359  Table  for  Carding  Engine  

Ramie. 

360  Plant  ;  

361  Plan  View  of  a  Decorticator  

362  vSide  elevation  of  a  Decorticator  

363  Fearnought   

China  Grass, 

364  Plant   

365  Fibres  Magnified  

Hemp. 

366  Plant  

367  Fibres  Magnified  


PAcr, 

••  195 
..  196 

196 

196 

197 
198 
199 
199 
200 
200 
200 

200 
202 
203 
204 
205 
205 
205 
206 

207 
208 
208 

209 
209 
210 
210 
212 

213 
217 
217 
218 

219 
219 

220 
220 


LIST  OF  ILLUSTI^ATIONS  JO  VOLUjVIE  II. 


FIG. 


PAGE 


For  the  Purpose  of  Ascer- 
taining texture  to  Use 
for  the  construction  of 
Textile  Fabrics   5S 


1  Woolen  Thread  Magnified'] 

2  Worsted  Yarn  Magnified  | 

3  Mohair  Magnified  [" 

4  Cotton  Yarn  Magnified  | 

5  Silk  Yarn  Magnified  J 

6  Diagram  of  Fabric   Having  Warp   and  Filling 

Twisted  in  the  vSame  Direction   65 

7  Diagram   of  Fabric  Having  Warp  and  p-illing 

Twisted  in  Opposite  Direction   65 

8  t  Twill   66 

4 

9  Plain  Weave   66 

10  Diagram 

11  Complete  Weave  !•  of  the 

12  Section 

13  Diagram 

14  Section  !■  of  the*—, 

15  Complete  Weave 

16  Complete  Weavo  ^ 


Twill  


67 


Twill   67 


17  Diagram 

18  Section 


-of  the 


Twii 


19  Complete  Weave 

20  Diaerram  \  of 


20  Diagra 

21  Section 


the^ 


67 


Twii:   6.! 


FIG.  PAGE 

22  Plain  Weave   68 

23  ~  Twill  69 

24  3  Twill  70 

25  Twill  70 

26  ; Twill   71 

27  Twill  72 

28  Seven-Leaf  Satin  [Warp  for  Face]   75 

29  3  Rib  Weave  Warp  Effect   76 

30  "*  -  3  Rib  Weave  Warp    EflFect   76 

31  Figured  Rib  Weave   76 

32  Nine  Harness  Corkscrew   77 

33  Figured  Corkscrew   77 

34,  35-  36  37,  38,  39,  40  Weaves  for  Fabrics  Construtced 

with  Two  Systems  of  filling  and  one  System  of 
Warp  ".  77.  78,79 

41,  42,  43  44  Weaves  for  Fabrics  Constructed  with 
Two  Systems  of  Warp  and  one  Svstem  of  Fill- 
ing 79-  80.  81 

45,  46,  47,  48  Weaves  for  Double  Cloth  FaVics..82,  83,  84 


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THE  LEADING  WORK  ON  TEXTILE  MANUFACTURING. 

The  STmicTDBE  of  Fhwes,  Ymms  P  FmrniiiS. 

Being  a  Practical  Treatise  for  the  Use  of  All  Persons  Employed  in  the  Manufacture  of  Textile  Fabrics. 
IN  TWO  VOLUMES  BOUND  IN  ONE. 

VOL.  I.  Being  a  Description  of  the  Growth  and  Manipulation  of  Cotton,  Wool,  Worsted,  Silk,  Flax,  Jute, 
R.amie,  China  Gias-^  and  Hemp. 

VOL.  M.  Dealing  with  all  Manufacturers'  Calculations  for  Every  Class  of  Material,  also  Giving  Minute 
•Details  for  the  Structure  of  all  kinds  of  Textile  Fabrics. 

Containing  also  an  Appendix  of  Arithmetic,  specially  adapted  for  Textile  Purposes. 

By  E.  A.  POSSELT, 

Consulting  Expert  on  Textile  Designing  and  Manufacturing, 

iProfefSor  of  the  Advanced  Study  in  Textile  Designing  and  Lecturer  on  the  Structure  of  Fibres  and  the  Manufac- 
1  ture  of  Yarns  and  Fabrics  at  the  Textile  Department  of  the  Pennsylvania  Museum  and  School  of 

Industrial  Art,  Philadelphia;  Author  and  Publisher  of  "The  Technology  of  Textile 
Design,"  "  The  Jacquard  Machine  Analyzed  and  Explained,  The 
Preparation  of  Jacquard  Cards  and  Practical  Hints  to 
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And  Sampson  Lowe,  Jlarston,  Searlc  &  Rivington,  Limited,  St.  Dunstan's  House,  Fetter  lane,  Fleet  St.,  London,  Eng. 

COMJlEtiTS  OF  SOME  OF  THE  LEAWJIG  TEXTILE  lliPiUFACTUaEHS  ON  THE  WORK. 

(All  o(  which  have  been  received  entirely  unsolicited  by  the  author.) 
From  the  Treasurer  of  a  leading  Worsted  Mill. 

SAXOJV  WORSTED  COMPAJYY, 

Franklin,  Mass.,  Feb.  28,  1891. 

Mr.  E.  a  Posselt,  2152  North  Twenty-first  Street,  Philadelphia. 

Dear  Sir  : — You  may  please  send  to  us  five  (5)  niorecopies'of  yournew  book,  "  The  Structure  of  Fibres,  Yarns  and  Fabrics."  This  will 
maVe  six  copies  in  all,  for  which  we  will  send  you  check.  We  trust  the  work  will  meet  with  the  sale  which  it  deserves  The  composition 
of  such  an  extensive  and  yet  accurate  work  certainly  earns  for  you  the  thanks  and  appreciation  of  all  interested  in  textile  industries. 

Yours,  etc.,  I.  G.  LADD,  Treasurer. 

From  the  Superintendent  of  a  Western  Woolen  Mill. 

BOMAPARTE  WOOLEK  MILL, 

Bonaparte,  Iowa,  Feb.  9,  1891. 

E.  A.  Posselt,  Esq.,  Philadelphia. 

Dear  Sir:  Your  book,  "The  Structure  of  Fibres,  Yarns  and  Fabrics,"  received  4th  inst.,  and  have  enclosed  draft  $10.00  on  New 

York  in  payment  of  same.  J  have  delayed  for  a  few  days  before  writing  you  in  order  to  give  myself  time  to  look  through  the  work.  I 
must  say  that  I  have  always  received  from  you  sterling  value  fcr  my  money,  and  your  present  work  is  no  exception  to  the  rule.  It  more 
than  meels  my  expectations,  and  I  shall  find  it  very  helplul  to  my.self  It  will  be  simply  invaluable  to  the  young  man  learning  the  art  of 
iwoolen  manufacture,  who  has  to  rely  on  himsell  too  often  and  get  little  encouragement  from  those  around  him.  To  such  a  one  the  second 
ivolume  will  prove  a  veritable  mine  of  information.    Wishing  you  much  success,  I  am,  yours  truly, 

^  W.  R.  DREDGE,  Supt. 

■From  the  Superintendent  of  our  largest  Eastern  Woolen  Mill. 

ASSABET  MAJVUFACTURIJVG  CO., 

Maynard,  Mass.,  Feb.  2Jf,  1891. 

E.  A.  Posselt,  Philadelphia. 

Dear  Sir  :— EncloFed  I  hand  you  money  order  for  $\o.oo  to  pay  for  the  copy  of  "  Structure  of  Fibres,  Yarns  and  Fabrics  "  you 
sent  me,  and  which  is  satisfactory.    Yours  respectfully,    WILLIAM  H.  MAYNARD,  Supt. 

An  Extract  of  a  Letter  from  Messrs.  Thompson  Bros., 

MAJYUFACTURERS  OF  WOOLEJY  HOSIERY, 

Milroy,  Pa.,  March  25,  1891. 

[Sent  by  Messrs.  Thompson  Eros,  to  Henry  Carey  Baird  &  Co.,  who  forwarded  it  to  me  for  reference.] 
Many  thanks  for  the  superb  book  you  send  on  Textile  Fibres  and  their  manipulations.    It  is  excellent. 

^  ^  Yours,  etc.,  THOMPSON  BROS. 

(Continued  on  next  page.) 


From  an  American  Silk  Manufacturer. 

Office  of  BRIDGEPORT  SILK  CO., 

Bridgeport,  Conn.,  March  11,  1891. 

E.  A.  PossELT,  Esq. 

Dear  Sir  : — Please  find  enclosed  amount  of  bill  for  last  publication  sent  me.  I  now  have  all  your  works  up  to  date,  and  sincerely 
wish  you  luck  with  your  last  excellent  effort.    What  next?    Send  circular.  Respectfully, 

F.  M.  PATTERSON. 

■  _  •  y 

FROM  A  LOOM  BOSS. 
Jamestown,  JV.  Y.  a26  Winsor  Street:),  April  22,  1891. 

Mr.  E.  a.  Posselt,  Philadelphia. 

Dear  Sir  : — Please  find  enclosed  money  order  .  .  (for  books  send).  I  am  well  pleased  with  the  books.  The  book  "  Technology  of 
Textile  Design  "  and  the  book  "  Structure  of  Fibres,  Yarns  and  Fabrics  "  I  would  not  be  without  for  their  weight  in  gold.  Please 
acknowledge  receipt  and  oblige  yours  truly,  T.  D.  DOUGLASS. 


FROM  BRAZIL. 

Caxias,  March  Jf,  1891. 

Mr.  E.  A.  Posselt. 

Dear  Sir  : — Have  received  the  books  "  Structure  of  Fibres,  Yarns  and  Fabrics,"  "  Technology  of  Textile  Design,"  "The  Jacquard 
Machine,"  and  am  much  pleased  with  them.    Yours  truly,  ROBERT  D.  WALL. 


Office  of  RATS  WOOLEJY  CO., 

Franklin,  Mass.,  March  19,  '91. 

E.  a.  Posselt,  Esq. 

Dear  Sir  : — I  have  purchased  more  than  $25.00  worth  of  books  on  manufacturing  before  purchasing  yours,  and  can  truthfully  say 
"  Fibres,  Yarns  and  Fabrics,"  is  worth  double  all  the  others  are.    I  am  yours,  JOSEPH  ALDRICH. 


From  a  New  Hampshire  Woolen  Manufacturer. 

MASCOMA  FLAJVJVEL  COMPAJYY, 

M.  E.  George,  Sup't,  Lebanon,  JY.  H.,  May  1,  '91. 

E.  A.  Posselt,  Philadelphia. 

Dear  Sir: — Enclosed  please  find  check  for  payment  of  enclosed  bill  for  copy  "  Structure  of  Fibres,  Yarns  and  Fabrics."  Was 
much  pleased  with  book,  it  is  well  worth  the  money  to  an  experienced  manufacturer,  and  many  times  its  cost  to  beginners  in  the  art  of 
manufacturing.  If  I  could  have  had  such  a  work  in  my  younger  days  of  manufacturing,  it  would  have  learned  me  many  points  that  I  had 
to  work  out  by  study,  observation  and  experience,  attended  with  more  or  less  mistakes  on  my  part  and  expenses  otherwise. 

M.  E.  GEORGE,  Sup't. 

From  the  Agent  of  an  Eastern  Machine  Shop. 

PET  TEE  MACHIJVE  WORKS  (CoUon  Machinery), 

J^ewton,  Upper  Falls,  Mass.,  Jan.  29,  '91. 

E.  A.  Posselt,  Esq. 

My  Dkar  Sir  ; — We  are  in  receipt  of  your  "  .Structure  of  Fibres,  Yarns  and  Fabrics."  It  is  indeed  a  great  work,  and  makes  a 
beautiful  and  instructive  volume.    Very  truly,  F.  J.  HALE,  Agent. 

From  the  EATOJV  RAPIDS  WOOLE.JY  MILLS, 

Eaton  Rapids,  Mich.,  Aug.  28,  '91. 

E.  A.  Posselt,  Philadelphia. 

Dear  Sir  : — I  have  further  examined  the  books  purchased  of  you,  "  Structure  of  Fibres,  Yarns  and  Falmcs  "  and  "  Technology  of 
Textile  Design,"  and  find  them  just  what  I  wanted.    Yours  truly,  WM.  A.  HORNER. 


FROM  CAJVADA. 

Hamilton,  Ont.,  May  21,  1891. 

To  Mr.  E.  a.  Posselt. 

Dear  Sir: — When  I  was  living  in  Magog,  Quebec,  I  sent  for  two  of  your  books.  I  am  well  pleased  with  them  and  would  not  be 
without  them  for  ten  times  the  money. 

HARRY  MARSH,  143  Picton  Street,  East. 


From  a  Felt  Manufacturing  Company. 

THE  ACME  FELT  CO.  ( Paperniakers'  Felts), 

Albany,  JV.  Y.,  Ma,y  29,  '91. 

Mr.  E.  a.  Posselt,  2152  North  Twenty-first  Street,  Philadelphia. 

Dear  Sir  : — Book,  "  Structure  of  Fibres,  Yams  and  Fabrics,"  received.    Very  much  pleased  with  it. 

Yours  respectfully,  THE  ACME  FELT  CO. 

(Continued  on  next  page.) 


PROriDEJVCE   WORSTED  MILLS. 

Pj'ovidence,  R.  I.,  July  9,  '91. 

\  My  Dear  Posselt: — I  have  your  latest  work,  "Structure  of  Fibres,  Yarns  and  Fabrics,"  and  I  assume,  in  my  opinion,  it  is  the 
lit  work  of  the  kind  ever  published.  H.  SHERIDAN. 

r  A.  PossKLT,  Esq.,  Piiiladelphia. 

t  Dear  Sir  : — 1  have  your  new  work  on  "  Structure  of  Fibres,  Yarns  and  Fabrics,"  which  I  think  is  excellent. 

■  Yours  truly,  GEO.  D.  RICE,  Jr.,  of  Tuft's  College,  Mass. 


'\.  E.  A.  Posselt,  Philadelphia. 

Dear  Sir: — I  have  read  your  book  on  "  Structure  of  Fibres,  Yarns  and  Fabrics,"  and  confess  to  feel  greatly  interested  in  it  from  its 
tructive  nature,  etc.    Yours  truly,  JOHN  E.  ANDREWS,  75  Pearl  Street,  Charleitown,  Mass., 

(With  Macullar,  Parker  &  Co.,  Boston,  Mass.) 


A  COUPLE  OF  SPECIMENS  FROM  THE  LEADINS  TEXTILE  JOURNALS  OF  ENGLAND. 

What  the  TEXTILE  RECORDER,  of  MANCHESTER,  ENG.,  says: 

"he  Structure  of  Fibres,  Yarns  and  Fabrics."    2  vols.    Pjy  E.  A.  Posselt.    London:  Sampson  Low  &  Co.   Philadelphia:  E.  A, 
Posselt. 

Mr.  E.  A.  Posselt  is  known  throughout  the  textile  world  as  the  author  of  "The  Technology  of  Textile  Design,"  undoubtedly  the 
ist  complete  treatise  on  designing  and  weaving  yet  published,  and  which  has  reached  its  third  edition.  He  is  the  Head  Master  of  the 
xtile  Department  of  the  Pennsylvania  Museum  and  School  of  Industrial  Art,  Philadelphia,  and  the  author  of  many  textile  text-books, 
lading  The  Jacquard  Machine  Analyzed  and  Explained,"  and  "  The  Preparation  of  Jacquard  Cards  and  Practical  Hints  to  Learners 
facquard  Designint;,"  but  in  the  present  work  he  has  surpassed  all  his  former  efforts.  It  is  no  exaggeration  to  say  that  of  modern  works 
the  structure  of  fibres,  yarns  and  fabrics  the  book  under  notice  is  the  most  comprehensive.  It  is  true  that  there  are  many  high-class 
)ks  in  special  departments  of  great  excellence,  which  deal  more  fully  with  the  details  of  specialties,  but  there  is  not  one  that  takes  a 
vey  in  its  pages  of  the  subject  as  a  whole,  and  to  which  the  student  can  resort  for  trustworthy  information  as  does  this  new  work. 

Volume  I  is  a  description  of  the  s^rowth  and  manipulation  of  cotton,  wool,  worsted,  silk,  flax,  jute,  ramie,  China  grass  and  hemp, 
e  treatise  on  cotton  commences  with  a  botanical  description  of  the  cotton  plant,  and  carries  the  reader  through  every  stage  of  its 
nipulation  until  the  cloth  is  ready  for  the  market.  The  various  processes  of  manufHCture  are  clearly  and  succinctly  described,  and  each 
p  is  illustrated  with  engravings  of  the  machines  from  the  works  of  the  English  and  American  makers  of  the  highest  reputation.  Wool 
I  1  its  manufacture  are  treated  in  the  same  exhaustive  manner.  An  illustration  is  given  of  every  wool  producing  animal,  accompanied  by 
56  notes  of  its  habitat  and  value  In  this  section  a  very  large  number  of  engravings  of  American  machinery  is  given,  which  should 
eive  the  attention  of  Yorkshire  and  Continental  makers.  Worsted  forms  a  separate  section,  and  is  dealt  with  in  a  similar  manner  to 
ol.  No  work  has  yet  been  published  giving  so  full  and  concise  an  account  of  silk  from  the  eggs  of  the  silkworm  to  the  finished  article, 
e  entire  process  of  the  manufacture  of  flax  is  described,  and  sufl^cient  attention  is  given  to  jute,  ramie,  China  grass  and  hemp. 

Vol.  II  deals  with  calculations  of  manufactures  for  every  class  of  mateiial,  and  gives  minute  details  of  all  kinds  of  textile  fabrics.  It 
ms  an  advanced  study  to  the  author's  work  on  the  art  of  designing  and  weaving.    The  calculations  are  exhaustive,  but  it  is  only  fair  to 

that  there  are  other  works  published  in  a  separate  form  of  equal  merit.  The  advantage  of  the  publication  of  this  volume  is  that  the 
dent  has  in  one  book  complete  information  on  the  entire  range  of  his  studies  on  the  subject.    A  treatise  on  Arithmetic  specially  adapted 

textile  purposes  is  given  in  an  Appendix,  and  is  a  useful  addition  to  the  work.  Nothing  seems  to  have  been  omitted  that  comes 
bin  the  compass  of  the  book,  for  combined  with  an  excellent  Index  is  a  Glossary,  giving  explanations  of  the  most  frequently  used 
hnical  terms,  so  that  at  once  a  searcher  can  ascertain,  either  from  the  pages  ot  the  book  or  from  the  Glossary,  the  meaning  of  any 
hnical  term  in  connection  with  fibres,  yarns  and  fabrics.  More  need  not  be  said  to  direct  attention  to  a  book  which  should  be  in  the 
■ary  of  every  textile  institute,  and  in  the  hands  of  teachers  of  textile  classes,  as  well  as  in  factories  and  mills,  where  as  a  book  of 
;reiice  it  will  be  invaluable. 

What  the  IRISH  TEXTILE  JOURNAL,  of  BELFAST,  IRELAND,  says: 

'he  Structure  of  Fibres,  Yarns  and  Fabrics."  By  E.  A.  Posselt,  Head  Master  Textile  Department,  Pennsylvania  Museum  and  School 
of  Industrial  Art,  etc.  London:  Sampson  Low,  Maiston,  Searle  &  Rivington,  Ld. 
This  truly  superb  work  leaves  nothing  to  be  desired  in  respect  to  the  extent  and  comprehensiveness  of  its  details.  It  is,  as  described,  a 
ctical  treatise,  in  two  volumes,  for  the  use  of  all  persons  employed  in  the  manufacture  of  textile  fabrics.  The  first  volume  gives  a  description 
the  growth  and  manipulation  of  cotton,  wool,  worsted,  silk,  flax,  jute,  ramie,  China  grass  and  hemp  and  embraces  a  full  and  technical 
:ount  of  the  cultivation,  preparation  and  treatment  of  all  these  raw  materials  in  the  most  complete  form.  This  is  followed  by  an 
laustive  account,  under  each  head,  of  the  several  appliances  for  the  preparation  and  spinning  of  these  various  fibres  into  yarn,  the  whole 
ng  profusely  illustrated  ;  and  machinery  by  leading  firms  in  England  and  the  United  States  is  also  figured  in  great  variety.  In  the  fiax 
I  tion  the  plant  is  described  and  illustrated,  its  various  stages  of  cultivation,  retting,  scutching,  etc.,  both  home  and  foreign,  bein^  fully 
ated.  This  is  followed  by  a  description  of  the  preparinfj  and  spinning  machinery,  the  various  frames  being  shown  by  carefullif  printed 
ctrotype  blocks.  The  second  volume  deals  with  calculations  for  manufacturers  for  every  class  of  material,  and  giving  minute  details  for 
■  structure  of  all  kinds  of  textile  fabrics.  There  is  an  Appendix  of  Arithmetic  specially  adapted  for  textile  purposes,  and  a  Glossary  of 
chnical  Terms.  Over  400  illustrations  fill  this  work,  which  will  be  found  invaluable  to  spinners  and  manufacturers,  as  well  as  to  technical 
dents.  Mr.  Posselt  has  compiled  a  work  which  will  be  a  standard  one  in  the  schooh  of  instruction  ;  and,  from  the  practical  knowledge 
ich  he  possesses  in  the  manufacture  not  only  of  yarns  but  cloth,  and  his  thorough  knowledge  of  textile  designing  and  the  Jacquard 
chine — upon  which  he  has  written  a  special  work — he  is  eminently  qualified  to  deal  with  all  questions  of  this  kind;  and  the  volumes 
ier  notice  bear  testimony  to  his  great  research  and  erudition. 


A  FEW  EXTRACTS  FROM  THE  LEADING  TEXTILE  JOURNALS  OF  AMERICA. 

What  C.  H.  Clark,  Esq.,  Editor  and  Proprietor  of  the  TEXTILE  RECORD,  Philadelphia,  Pa.,  says: 

|he  Structure  of  Fibres,  Yarns  and  Fabrics."    E.  A.  Posselt's  New  Book. 

Beyond  dispute,  Mr.  E.  A.  Posselt,  principal  of  the  Philadelphia  Textile  School,  is  the  foremost  writer  upon  this  continent  upon 
s  jects  appertaining  to  the  processes  of  textile  manufacture.  He  has  had,  what  few  Americans  obtain,  thorough  and  systematic  training 
1  theory  in  a  European  textile  school  of  the  first  class,  and  long  and  varied  practice  in  European  and  American  mills.    To  all  this  he 

(Continued  on  next  page.) 


adds  years  of  experience  as  a  teacher  and  the  prestige  of  successful  authorship.  That  his  qualification  as  an  expert  authority  upon  textil 
sul'jjects  is  fully  recognized,  is  proved,  first,  by  the  fact  that  his  advice  is  constantly  sought  by  textile  workers  of  all  classes  in  mills  frot 
Maine  to  Texas,  and  from  the  further  fact  that  his  woriis  already  published  are  in  active  demand  from  all  parts  of  the  country. 

Mr.  Posselt  has  prepared,  and  now  ofifers  to  the  public,  a  new  book,  which  is,  in  truth,  two  volumes  included  in  one  cover.  It  i 
entitled  "  The  Structure  of  Fibres,  Yarns  and  Fabrics,"  and  it  contains  more  than  400  illustrations.  The  result  is  a  comprehensive  trea 
tise  upon  the  nature,  origin  and  qualities  of  the  various  fibres  in  common  use,  and  upon  the  methods  employed  in  preparing  them  for  th' 
service  of  man.  The  mere  reproduction  here  of  an  abstract  of  the  contents  would  occupy  three  or  four  of  these  pages.  We  may  say 
however,  that  the  author,  beginning  with  cotton,  devotes  the  whole  of  Volume  I  to  decriptions  of  the  character,  growth  and  manipulatioi 
of  the  fibres,  including  wool,  worsteds,  silk,  flax,  jute,  ramie,  China  grass  and  hemp.  The  illustrations  accompany  the  descriptive  text  ii 
such  a  manner  as  to  give  perfect  clearness  to  the  author's  meaning.  Where  processes  are  dealt  with,  the  principles  and  the  methods  o 
operating  the  various  machines  are  fully  explained,  so  that  the  man  who  chooses  to  study  the  text  may  learn  7oky  certain  things  are  done 
as  well  as  ko-M  they  are  done.  It  is  no  uncommon  thing  in  American  mills  that  workmen  are  efficient  in  practice  without  clear  acquaintance 
with  the  underlying  principles.  But  mastery  of  principles  is  of  high  importance  with  respect  to  the  attainment  of  excellence  in  practice 
and  Mr.  Posselt's  book  gains  its  value  from  the  fact  that  it  deals  with  both  theory  and  practice,  applying  the  former  admirably  to  tht 
latter. 

The  second  part  or  volume  of  the  work  deals  with  calculations  for  every  class  of  material,  for  all  the  operations  in  the  mill  to  whicl 
arithmetic  may  be  applied,  and  contains  minute  instruction  respecting  the  structure  of  every  variety  of  textile  fabric.  The  fullness  anc 
lucidity  of  this  portion  of  the  work  are  such  that  it  is  diflicult  to  perceive  how  any  textile  worker,  owning  the  book,  can  be  at  a  loss  tc 
solve  any  puzzhng  question  which  may  present  itself,  without  going  further.  The  work  includes,  not  solely  the  author's  own  notions  o 
the  daily  needs  of  the  textile  manufacturer,  but  his  acquaintance  with  those  needs  as  supplied  by  the  questions  propounded  to  him  bj 
practical  men  in  the  thousands  of  letters  that  have  come  to  him,  in  the  past  years,  from  all  parts  of  the  United  States.  The  mill  that  shall 
place  this  volume  where  it  can  be  consulted  by  the  workmen  will  be  fully  equipped  to  meet  almost  every  emergency  that  may  preseni 
itself.  We  venture  the  assertion  that  possession  of  the  book  is  necessary  to  the  right  equipment  of  any  American  factory  that  is  engaged 
in  the  production  of  textile  fabrics. 

The  Appendix  to  the  work  contains  that  portion  of  the  science  of  arithmetic  which  bears  upon  the  various  problems  presented  and 
worked  out  in  the  book.  This  is  intended  for  the  service  of  the  many  bright  workmen  who  have  not  had  opportunities  for  acquiring  good 
education  in  their  early  years — and  the  class  is  much  larger  than  is  commonly  supposed.  The  Appendix  also  includes  a  Glossary  of  Textik 
Terms,  which  is,  in  truth,  ft  dictionary  of  the  textile  industry.    It  is  full,  and,  so  far  as  we  can  determine,  accurate  and  satisfactory. 

The  price  of  this  work  is  gio.oo,  and  it  cannot  be  regarded  as  great  when  the  dimensions  of  the  volume  and  the  fullness  of  the 
information  are  considered. 


What  Jos.  M.  Wade,  Esq.,  Editor  and  Proprietor  of  WADE'S  FIBRE  AND  FABRIC,  Boston,  Mass.,  says: 

We  have  received  from  Mr.  E-.  A.  Posselt,  of  Philadelphia,  a  copy  of  his  new  work,  entitled  "  The  Structure  of  Fibres,  Yarns  and 
Fabrics,"  a  treatise  for  the  use  of  those  employed  in  the  manufacture  of  textile  fabrics.  The  work  is  in  two  volumes,  iMund  in  one. 
The  book  is  a  quarto,  and  is  printed  on  very  heavy  book  paper,  in  a  clear  type.  It  is  unusually  complete  and  shows  very  deep  research 
on  the  part  of  the  author  in  compiling  and  arranging  the  work.  Among  the  illustra'ions  are  some  of  the  most  popular  machines  of  the 
day,  which  are  not  only  illustrations  and  descriptions,  but  locate  the  manufacturers  of  such  machines.  It  is  a  work  that  should  be  in  every 
mill  office  in  the  United  States,  and  if  eveiy  overseer  could  possess  a  copy,  he  would  be  vastly  benefitted  thereby — that  is,  if  he  read  and 
studied  the  contents  as  he  should,  because  it  is  doubtful  if  as  much  valuable  matter  in  as  condensed  a  form  could  be  had  anywhere. 
There  is  hardly  a  subject  connected  with  the  manufacture  of  fabrics  that  is  not  treated,  so  that  it  is  practically  an  encyclopedia  for  the 
manufacturer  and  the  practical  men  engaged  under  him.  To  give  a  proper  notice  of  this  work  would  require  an  entire  copy  of 
Fibre  and  Fabric.    It  is  strongly  bound  in  cloth  and  put  up  in  a  very  durable  fonn. 


What  the  BOSTON  JOURNAL  OF  COMMERCE  says: 

"The  Struciure  of  Fibres,  Yarns  and  Pabrics."     By  E.  A.  Posselt.     Published  by  the  author,  2152  North  Twenty-first  Street, 
Philadelphia,  Pa.    Price,  $1000,  including  expressage. 
All  of  Mr  Posselt's  works  rank  among  the  first  in  the  technology  of  textile  manufacturing.    The  present  one  is  superior  to  any  of  his 
previous  publications  in  the  range  of  subjects  and  in  the  elaborateness  of  their  treatment.    Mo  work  approximates  it  in  real  value  to  the 
American  textile  manufacturer.    It  is  in  two  volumes,  bound  in  one,  and  accompanied  by  over  400  illustrations. 


What  the  AMERICAN  WOOL,  COTTON  AND  FINANCIAL  REPORTER,  Boston,  New  Yorl(  and  Philadelphia,  says : 

"  The  Structure  of  Fibres,  Yarns  and  Fabrics  "  is  the  title  of  a  very  comprehensive  and  carefully  prepared  work,  published  by  E.  A. 
PossKLT,  2152  North  Twenty-first  Street,  Philadelphia,  Pa. 

The  two  volumes,  which  are  handsomely  bound  in  one  in  quarto  form,  contain  over  400  illustrations,  which,  tocether  with  the 
admirably  written  descriptive  articles,  contain,  it  would  seem,  all  the  information  which  one  can  possibly  ask  for  regarding  the  subject- 
matter  of  the  work,  the  treatment  of  which  from  beginning  to  end  reveals  a  vast  amount  of  careful  study,  painstaking  reseaich  and 
experience.  I'he  illustrations  and  descriptions  of  the  origin  and  characteristics  of  cotton,  wool  and  materials  used,  the  kinds  of  cotton,  the 
different  breeds  of  sheep,  the  manipulations  of  the  raw  materials  and  the  various  proeesses  so  intelligently  treated  in  the  first  volume  are 
unsurpassed.  •  ,  •  r 

Volume  II  is  built  upon  the  author's  former  work  on  designing  and  weaving,  "Technology  of  Textile  Design,"  and  with  it  forms 
the  most  complete  encyclopedia  on  textile  work  thus  far  published  in  the  English  language.  No  doubt  there  are  points  and  suggestions 
from  the  leading  manufacturers  of  this  country  closely  interwoven  with  the  author's  work,  but  such  will  only  increase  the  value  of  the 
book  to  the  manufacturer  and  student,  who,  sooner  or  later,  it  would  seem,  must  use  it  for  reference. 

Mr.  Po>stl[,  the  author  of  the  work,  is  head  master  of  the  textile  department  of  the  Pennsylvania  Musuem  and  School  of  Industrial 
Art  Philadelphia,  Pa.,  and  is  also  author  and  publisher  of  "The  Technology  of  Textile  Design,"  a  work  on  the  Jacquard  machine,  etc. 
The  present  volume  is  sure  to  be  regarded  as  authority.  It  has  cost  the  author  a  great  deal  of  money,  time  and  also  health,  yet  the 
price  charged  for  it  (?Io)  is  really  less  than  the  work  is  worth.  The  present  edition  is  now  running  towards  its  end,  and  there  is  very 
likely  to  be  a  second  edition,  which  will  be  an  exact  duplicate  of  the  present,  and  will  be  sold  at  an  advanced  price.  Hence  parties  to 
whom  money  is  ati  object  in  the  purchasing  of  a  book,  will  do  well  to  order  now  at  the  cheap  rate  of  $10  for  the  complete  work. 

ADDRESS  ALL  ORDERS  TO 

B^^Complete  Circulars  on   this  work,  as   

well   as  my  former  works  on   Designing  and  POSSELT,  PubUSher, 

Weaving  and  the  Jacquard  Machine,  sent  postage- 
free  upon  application.  2152  N.  Twenty-first  Street, 


PHIIvADELPHlA.,  F»A.. 


Silk  Plush  Looms, 

Mohair  Plush  Looms, 

Worsted  Plush  Looms, 


^^HESE  Looms  are  a  great  success.  The  Fabric  may  be  cut  in  Loom  or  out  of 
Loom  as  desired.  I  am  building  a  Loom  that  is  especially  adapted  for 
SILK  ;  also  a  MOHAIR  and  WORSTED  LOOM. 


=ALSO   BUILDERS  OF= 


PATENT  RAW  ^TOCK  MUm  MACHINES, 
WILLOWS,  PICKERS,  REELS,  Etc., 


SHAFTM  HANGERS  AND  PULLEYS. 


Call  on  or  Address  for  Full  Particulars, 


rr\' 


R.  H.  PATTON,  Proprietor, 

226  Chestnut  St.,  Philadelphia.  Manayunk,  Pa. 

293 


PATENTS, 


flOWSON  &  HOWSON. 

TTOWSON  &'  HOWS  ON,  ATTORNEYS- 
AT-LAW  AND  SOLICITORS  OF 
PATENTS  with  offices  in  the  cities  of  PHILA- 
DELPHIA, NEW  YORK  and  WASHINGTON, 
D.  C,  attend  to  Patent  Law  business,  in  the  Courts, 
and  before  the  Patent  Office. 

They  solicit  Patents  and  register  trademarks 
a?id  labels  in  the  United  States  and  ift  foreign 
countries ;  prosecute  and  defend  iifringement  and 
other  suits  relating  to  patents,  trademarks  or  copy- 
rights in  the  Courts ;  exatnine  into,  and  give  re- 
ports and  opinions  upon,  questions  as  to  the  nov- 
elty of  inventions,  the  validity  of  patents,  etc., 
and  attend  to  Patent  Law  business  in  all  its 
branches. 

CHARLES  HOWSON, 

HENRY  HOIVSON, 

HUBERT  HOIVSON. 

iig  S.  Fourth  Street,  PHILADELPHIA,  PA. 
38  Park  Row,  NEW  YORK. 
giS  F  Street,  WASHINGTON,  D.  C. 

Washing,  Drying  and  Burring  Machinery. 

BURR  CYLINDERS,  LICKER-INS,  METALLIC  FEED 
ROLLS,  DOFFER  COMBS,  METALLIC  BREASTS, 
GARNETT   MACHINERY,   GARNcTT  PICKERS, 
EXHAUST  FANS,  WOOL  DRYERS,   Etc.,  Etc. 


All  kinds  of  Shafting  Appliances,  Millwrighting,  etc. 

WORKS  AND  OFFICE; 

Hancock  Street,  above  Lehigh  Avenue, 
PHILADELPHIA,  PA. 


DESIGN  PAPER 


IN  SIZES, 


FOR- 


Woolen, 
Cotton, 

CS^rpet  and 

upholstery 


MILLS. 


E.  I=OSSEI_iT, 

2152  N.  Twenty -first  Street,  Philadelphia, 


JAMES  HUGHES. 


JOHN  RUSSUM. 


HUGHES  &  RUSSUM, 


PROPRIETORS 


Mutual  Machine  W^rks, 


BUILDERS  OF 


LOOMS, 

BEAMING  MACHINES,  ETC. 

With  all  the  latest  Improvements, 

Oxford       Hedge  Streets, 

FRINKFORD,  PHILlDELPHIiL. 


Special  attention  given  to  Repair  Work,  which 
we  will  furnish  promptly  and  at 
reasonable  prices. 


ORDERS  BY  MAIL  WILL  RECEIVE  PROMPT 
 ATTENTION.  


294 


ESTABLISHED  1848. 


 OF  EVERY  DESCRIPTION  FOR  

Cotton,  Woolen,  Silk  and  Worsted  Machinery. 


OAK 

LEATHER 
BELTING. 


ALSO  MANUFACTURERS  OF 

Bobbins,  Spools, 

Shuttles  and  Skewers 


Machine  Cards 
and 
Specialties. 


GENERAL  MILL  FURNISHERS. 
No.  113  Chestnut  Street,  Ptiiladelphiia 


CORRESPONDENCE  SOLICITED. 


< 
O 

Q 

< 

a 
o 

<^ 


JOHN  ROYLE  &  SONS, 

straight  Street,  Essex  Street, 
and  Ramapo  Ave. 


P. 


DOBBIES, 
QUILLERS, 
WARPERS, 
DOUBLERS, 
TWISTERS, 

REEL  SPINNERS, 

COVERING  MACHINES. 

295 


THOMAS  HALTON, 

2627  mutter  Street,  Philadelphia, 


MANUFACTURER  OF 


RISE  M  DROP  SHED 

JACQUARD 

For  "Worsteds. 

Of  the  most  approved 
construction,  working 
with  a  double  cam  on 
crank-shaft  of  the 
loom,  consequently  a 
saving  of  power.  Can 
be  applied  to  any  loom 
of  any  make.  (The 
most  perfect  machine 
in  the  market.) 


Also,  builder  of  Im- 
proved DOUBLE- 
LIFT,  DOUBLE- 
CYLINDER  JAC- 
QUARD for  weaving 
Turkey-red  goods  and 
table  covers  of  all  de- 
scriptions. No  wear  on 
cards,  as  the  cylinders 
run  only  half  speed. 
(Speed — 145  picks  per 
minute  for  70-inch  wide 
fabrics.  Production — 
25  yards  per  10  hours 


Jacqoard 


Promptly  attended  to  and  satisfaction  guaranteed.   Send  for  Circular. 

IMPROVED 

Machine 


Figured  Double  Velvet 
and  Plush  Fabrics, 

Being  the  only  perfect 
Jacquard  for  these  popu- 
lar fabrics  in  the  market. 
(See  pages  213  to  215  of 
this  book.) 

IMPROVED  PATENT 
DOUBLE-LIFT,  SINGLE- 
CYLINDER  JACQUARD. 

Can  be  applied  to  any 
loom.  This  machine  has 
come  into  general  use 
amongst  upholstery  and 
tapestry  goods  manufac- 
turers, being  the  best 
machine  for  both  fine  and 
heavy  goods.  These  ma- 
chines operate  easier  on 
the  yarn  and  thus  permit 
the  use  of  an  inferior 
grade  of  yarn,  with  the 
best  results. 

Maker  of  Brussels  Jac- 
quard Carpet  Machines, 
Piano  and  Witch  Ma- 
chines, Comber  -  boards, 
Lingos,  Etc. 


Address  all  communications  to  the  works, 


Ix^-uLtter  Street,  ZPliiila-delpliia,. 


296 


Established  i860. 


Telephone  Call  495^- 


I.  A.  HALL  &  CO. 

Reeds,  Harnesses 


AND 


General  Weavers'  Supplies, 

Nos.  30  and  32  Division  Street, 


PATERSON,  N.  J. 


Reeds  and  Harnesses  for   Ribbons  and  Dress 
Goods  of  all  kinds,  for  Silk  Manufacturers, 
a  specialty. 


Improved  Cop  Winding  Machines — Winds  Direct  from  Skein 
to  Shuttle— No  Bobbins  Used. 


Successor  to  A.  J.  GULP  &  CO., 


MANUFACTURER  OP 


Cotton,  Woolen  and  Worsted 

MACHINERY, 

No.  2427  Mascher  Street, 


PHILADELPHIA. 


IMPROVED  BOBBIN  WINDING  —  DIRECT  FROM 
SKEIN  TO  SHUTTLE  BOBBIN— SAVES  SPOOLING. 


Upright  Spindle  Patent  Bandless  Machine  for  Hosiery. 


UPRIGHT  AND  SECTION  WARPING  MILLS, 
YARN  BUNDLING  PRESS, 
BEAMING  MACHINES,  CARPET  ROLLING 
MACHINES, 
WARP  SPLITTING  MACHINES, 
BOBBIN  WINDERS,  SPOOLERS,  ROLLERS, 
WRINGING  ARMS,  DYE  STICKS, 
LOOM  JACKS,  LOOM  TREADLES,  LOOM 

RODS,  CRANK  ARMS, 
PICKING  STICKS,  BOBBIN  WHEELS,  Etc. 


JACOB  WALDER 


II 


188  RIVER  STREET, 
Paterson,  -  N.  J., 

3f)t/r.  of  all  kinds  of 

Reeds, 
Harnesses, 
Lingoes, 
Mails, 
Shuttles 
and  Quills. 

—DEALER  IN— 

Weavers'  Materials  in  General 


Plush  and  Velvet  Reeds  a  Specialty. 
eXGel^ioi^  loom  po  WORl^^, 

PATENTEES  AND  SOLE  MANUFACTURERS  OF 

ADAMSONS' 

Flexible  Bevel  Dent  Reeds. 

REINFORCED   WITH  SOLDER. 
ESPECIALLY  DESIGNED  FOR  WEAVING 

FINE  WORSTEDS,  WOOLENS 

AND  FANCY  COTTON  GOODS. 

You  will  save  expense  in  your  Weaving  Depart- 
ment by  using  Our  Patent  Flexible  Dent  Reeds,  in 
preference  to  any  other  make.  They  cause  no 
"Streaky"  Goods,  cause  no  friction  on  Warp 
Threads,  less  broken  Yarn,  no  Reed-Rowy  Goods. 
These  Reeds  are  more  durable,  and  are  in  every  way 
an  improvement  on  the  ordinary  kind.  Prices  as  low 
as  the  best  work  of  Makers  of  the  Common  Reed. 
Please  place  with  us  a  trial  order,  and  you  will  adopt 
them. 

Excelsior  Loom  Reed  Works, 


EDWARD  ADAMSON,  Prop., 


PAWTUCKET,  R. 


297 


GILBERT  LOOM  CO., 


BUILDERS  OF 


oo2vi:s 


For  Woolens,  Cotton,  Carpets,  Wire,  Cane, 


Velvet 


Plush 


Also,  Patenteci  Special  Finishing  Machiinery  for  Measuring, 
Dotabling  and  Folding,  Perching  and  Burling. 

works:  1 86  UNION  STREET  and  36  N.  FOSTER  STREET, 

WORCESTER,  MASS. 


= NO  YELTIES.— = 

MASON-BUTLER  DROP-BOX  LOOM. 

Simple  -  Dur^5.tle  -  Convenient  -  Quick-I(unnin5. 


GUARANTEED  UNSURPASSED. 


CARDS 


NEW 
MULE. 


...^^^^  SPINNING 
MASON  ^"-^^  FRAMES 

1VIACHINE  WORKS, 

COTTON  MACHINERY. 

TAUNTON 
MULES    ""^--.^  MASS.  LOOMS 


HEW 

FRAME, 


MASON  HIGH-SPEED  SHEETING  LOOM. 

Hew,  Improved,  Heavy,  Convenient,  with  Great  Range. 
Silk  Loom.      Duck  Loom.      Seamless  Bag  Loom. 


298 


L.  S.  WATSON  &  CO.,  Leicester,  Mass., 


MANUFACTURERS  OF 


WATSON'S  PATENT  MACHINE 


WIRE  MEDDLES. 

Guaranteed  to  be  perfectly  adapted  to  Weaving  all  kinds  of  Cotton,  Woolen 
and  Worsted  Fabrics,  Fancy  Cotton,  etc.,  etc.  .Superior  Harness  Frames  furnished 
promptly.    Also  manufacturers  of  Hand  Stripper  Cards  of  every  description. 


Fall  Eiver, 
Mass. 


nijxOxOx2v£xs 

For  Com  aid  UlMmi 


c5c  CO.' 

MAKERS  OF 


The  Seaconnet 
Mills,  of  Fall 
River,  wove  in 
301  days  of  10 
hours  14,329,219 
yards  of  64  x  64 
goods  on  928  of 
our  "High-Speed 
Looms,"  a  daily 
average  of  51 X 
yards  per  loom 
per  day. 


299 


THE  CAMBRIA  SHAFTING  AND  MACHINE  WORKS. 


-MANUFACTURERS  OF- 


Textile  Macliiery,  Slafliig,  Haigers,  Pillefs,  Comliis,  Elc. 


e  above  Cut  represents  our  Improved  Cop  AVlndiiig  Machine.     Much  Saving  in  Stock,  Better  Results  in 

Woven  Cloth,  Etc.     Write  for  Particulars. 

CHARLES  C.  KLEIN,  -  -  Marshall  &  Cambria  Streets,  -  ■  PHILADELPHIA,  PA. 

CHAS.  M.  McCLOUD  &  CO., 

216   Chestnut  Street,  Plniladelplnla, 

IMPORTERS  AND  MANUFACTURERS 

SILK  NOILS  YARNS,  white  and  fast  colors, 

FOR 

Cloths,  Upholstery  and  Dress  Goods. 

Spun  Silks,  Tinsels  and  Fine  Cotton  Yarns  and  Warps. 


SellirLg  Agents  for  MALCOLM    MILLS  CO. 

Chenilles,  Tinsel  Twists  and  Threads, 
Sewing  Cotton,  Polished  Threads  and  Cords,  Fancy  Twists 

in  Worsted  Silk  and  Cotton. 


300 


CROMPTON  LOOM  WORKS, 

 WORCESTER,  MASS.  

THE  ORIGINAL  AND  MOST  EXTENSIVE  WORKS  FOR  THE  BUILDING  OF  CARPET,  FANCY 
WOOLEN,  COTTON  AND  SILK  LOOMS  IN  THIS  COUNTRY. 


The  Crompton  Cam 
Loom 

With  "  1886  "  box  motion  is 
superior  for  Flannels  and 
Blankets,  and  is  built  of  any 
desired  width  and  Shuttle- 
Box  capacity,  and  with  two, 
three,  four  and  five -leaf 
cam. 


The  Crompton  Silk 
Loom 

Is  excellent  in  design  and 
operation,  and  has  patent 
special  devices  particularly 
adapted  for  the  wants  of 
Silk  Manufacturers. 


The  Crompton  Gingham 
Loom 

Is  the  STANDARD  for  Ging- 
hams and  similar  goods.  It 
is  made  with  four  or  six 
boxes  at  one  end,  or  four 
boxes  at  each  end,  and  with 
two,  three  and  four -leaf 
cam.  It  has  many  patent 
improvements. 


The  Crompton  Jean 
Loom 

Has  a  fixed  reputation  for 
Kentucky  Jeans,  etc.,  etc. 


The  Crompton  Improved 
Close-Shed  "1886" 
Fancy  Loom. 

The  BEST  for  Worsted  and 
Fancy  Cassimeres.  It  is  of 
twenty  -  seven  harness  ca- 
pacity, four  boxes  at  each 
end,  and  patent  automatic 
let -off  and  safety  filling 
stop-motions.  The  "1886" 
Box  motion  is  a  positive 
crank  and  differential  lever 
movement ;  any  of  the  com- 
partments of  either  series 
of  Shuttle  Boxes  are  com- 
manded at  any  pick.  Single 
or  Double  Beam  arrange- 
ments as  desired. 

Crompton's  Improved 
Comb  on  the  Noble 
Principle 

Is  freely  admitted  by  ex- 
perts to  be,  in  many  re- 
spects, the  BEST  Comb  yet 
produced.  In  workman- 
ship, character  and  produc- 
tion, it  competes  with  any 
Noble  Comb  made. 

In  price  it  cannot  be 
underbid. 

Is  adapted  for  either  coarse 
or  fine  wool,  and  is  fur- 
nished with  a  bailer,  or  a 
can  coiler,  or  spout  for  a 
stationary  can,  as  may  be 
desired.  The  main  driving 
and  smaller  shafts  are  steel . 
The  circles  are  of  choicest 
construction  and  guaran- 
teed in  every  respect. 


Crompton's  New  Ingrain  Carpet  Loom. 

Crompton's  New  Ingrain  Carpet  Looms. 

THE  attention  of  manufacturers  of  Ingrain  Carpets  is  called  to  the  consideration  of  a  new  Carpet  Loom  just  put 
on  the  market.    It  carries  four  (4)  shuttles  boxes  at  each  end  of  the  lathe ;  any  one  of  the  series  at  each  end 
can  be  brought  into  line  with  the  shuttle  race  at  any  pick.    The  Jacquard  is  of  the  most  approved  con- 
struction and  moves  the  warps  kindly.    The  let  off  and  take-up  motions  bring  out  perfectly  matched  goods. 
On  two-ply  work,  it  makes  sixty  (60)  yards  per  day.  The  apparatus  for  moving  the  boxes  cannot  be  surpassed  for 
its  simplicity  and  efficiency.    This  loom  has  no  equal  in  speed  and  simplicity  from  four  (4)  to  seven  (7)  colors. 

CROMPTON'S  UPHOLSTERY  LOOM, 

With  Improved.  "1886"  Box  Motion,  is  Capable  of  High  Speed  and  Nice  Adjustment 

for  its  Special  Line  of  Goods. 

Philadelphia  Exhibition  Rooms.  Echo  Mills,  Hancock  Street,  above  Lehigh  Avenue, 

WHERE  THE  CROMPTON  LOOMS  MAY  BE  INSPECTED. 

( Ocrrespo3n.d.eiice  Solicited.. ) 


301 


QUAKER  CITY 

DYE-WORKS  CO. 

Oxford,  Howard  &  Front  Streets, 

PHILADELPHIA. 

New  York  Office,  99  Franklin  Street, Watson  Building,  Room  10. 

DYERS  AND  FINISHERS 

 OK  

WORSTED  COATINGS, 

Woolen  and  Cotton  Dress  Goods, 

Jersey  Cloths,  Stockinettes,  &c. 

 DYERS  OK  

WORSTED,  mm  AND  COTTON  SKEIN  YARNS, 

SLUBBING  AND  WOOL. 


i 

Dyeing,  Drying  and  Finishing  Machinery, 

 FOR  

COTTON,  WOOLEN     WORSTED  GOODS. 


TENTERING  MACHINES,  Clamp  and  Pin  Chain. 

SINGEING  MACHINES,  (Gas  and  Plate.)  JIGGERS. 

WASHING  MACHINES,  Dolly  and  Open.  PADDING  MACHINES. 

CRABBING  MACHINES,  Single,  Double  and  Treble.     DYE  KETTLES,  with  Small  Engines  attached. 

CALENDERS  AND  MANGLES,  with  Paper,  Cotton  and  Husk  RoUs. 

HANK  YARN  DRYING  MACHINES,  (Hartman's  Patent.) 
DRYING  MACHINES,  with  Horizontal  and  Vertical  Frames,  and  with  Copper  and  Tinned  Iron  Cylinders. 


H.  W.  BUTTERWORTH  &  SoNS, 

York  and  Cedar  Streets,         -          -         Philadelphia,  Pa, 


LOOM  PICKER  COMPANY, 


BIDDEFORD,  MAINE, 

 Manufacturers  of  


RAW  HIDE  AND  LEATHER  LOOM  PICKERS, 

Including  many  styles  of  raw  hide  pickers  of  which  we  are  the  only  manufacturers,  such  as  the  Parker 
Patent  Drop  Box  Picker  which  has  no  plug  in  the  shuttle  strike,  can  not  break  off  at  the  head  nor 
work  loose  around  the  rod  hole,  and  is  guaranteed  to  be  more  durable  than  any  other  drop  box  picker 
made.  Also  Scoops,  Centre  Scoops,  Pressed  Centres,  Feathered  Feet  Bows,  and  all  other 
English  styles  which  have  heretofore  been  imported. 

loom:  harnesses, 

Both  single  and  double  knotted,  made  of  the  best  twine  and  stock,  and  finished  in  the  most  thorough 
manner,  making  them  of  guaranteed  superior  quality. 

ENGLISH  PICKER  LEATHER. 

This  leather  is  better  adapted  for  picking  purposes  than  any  other.  We  have  the  same  kind  and 
quality  which  is  used  almost  exclusively  in  England  for  this  purpose,  and  will  send  sample  on  application. 

ILLUSTRATED  CATALOGUE  AND  SAMPLES  OF  OUR  WORK  MAILED  ON  APPLICATION. 


303 


THE  TEXTILE  RECORD 

Contains  more  Original  Practical  Matter  than  any  other  Textile  Journal. 

Papers  on  practical  Processes  for  the  Woolen  Manufacturer,  the 
Cotton  Manufacturer,  the  Dyer  and  Bleacher,  the  Calico 
Printer,  the  Knitter,  Etc.,  Etc.,  Etc. 

RICHIY  lUl'STRATED  ARTICLES  ON  NEW  TEXTILE  MACHINERY. 

It  is  the  only  periodical  in  the  World  that  fully  represents  the  Knitting  Industry. 


SUBSCRIPTION  PRICE.  $3.00  PER  YEAR. 


The  Best  European 
Correspondence. 

Able  Editorials 
on  Industrial  Questions. 

New  Processes 
Translated  from  French 
and  German 
Technical  Presses. 


■jSjii'-  - 

pit 

^^^^ 

^^^^ 

The 

TEXTILE  RECORD 

Confessedly 
Ranks  First  Among 
American  Journals 
as  the  Representative 
of  the  Great 
Textile  Industries. 


The  Textile  Record  Hand-Books. 

No.  1.  Practice  in  Wool  Carding,  -  -  -  -  50  cts.  \A„y..„f„r$i.oo;  .hefo„r,$i.75. 
"  2.  Practice  in  Finisliing,  50  cts.  (™=     p^^^i^'i  Ha„d- Books 

'  ever  published,  and  the  cheapest. 

"  3.  Practice  in  Weaving  and  Loom  Fixing,  75  cts.  y  Sent  post-paid  on  receipt  of  price 

"  4.  Practice  in  Cotton  Carding,   -  -  -  75  cts  /  ^''^ 

The  volumes  are  small  enough  to  go  in  the  pocket.  The  prices  of  technical  textile  books  are 
usually  very  high.  These  have  been  issued  for  the  uses  of  workingmen,  and  the  prices  put  at  very 
low  figures. 

THE  TEXTILE  RECORD, 

425  Walnut  Street,  Philadelphia. 

304 


UNIFORM  IN  SIZE  WITH  THIS  BOOK  AND  BY  THE  SAME  AUTHOR 


THE  JACQUARD  MACHINE 

ANALYZED  AND  EXPLAINED: 

With  an  Appendix  on  the  Preparation  of  Jacquard  Cards  &  Practical  Hints  to  learners  of  Jacqnard  Designing 

WITH  230  ILLUSTRATIONS  AND  NUMEROUS  DIAGRAMS. 


Hy  E.  A.  I'OSSEIiT,  Mead  Master,  Textile  Department,  Pennsylvania  Museum  and  School  of  Industrial  JLrt. 

This  book,  quarto,  handsomely  bound  in  cloth,  will  be  mailed,  postage  prepaid,  to  any 

address,  upon  receipt  of  Price  $3.00. 


ABSTRACT  OK  THE  CONTENTS. 


History  of  the  Jacquard  Machine. 

The  Jacquard  Machine— General  Arrangement  and  Appli- 
cation. 

Illustration  of  the  different  parts  of  the  Jacquard  Machine 

—Method  of  Operation,  etc. 
The  Jacquard  Harness — The  Comber-boards. 
Tying-up  of  Jacquard  Harness. 

I.  — Straight-through  Tie-up. 

II.  — Straight-through  Tie-up  for  Repeated  Effects,  in  one 

Repeat  of  the  Design. 

III.  — Straight-througli  Tie-up  of  Jacquard  Loom,  having 

Front  Harness  attached. 

IV.  — Centre  Tie-up. 

V. — Straight-through  and  Point  Tie-ups  Combined. 
VI. — Straight-through  Tie-up  in  Two  Sections. 
VII. — Tying-up  a  Jacquard  Harness  for  Figuring  Part  of 
the  Design  with  an  Extra  Warp. 


VIII.— Straight-through  Tie-up  in  Three  Sections. 
IX.— Point  Tie-up  in  Three  Sections. 
X.— Combination  Tie-up  in  Two  Sections. 
XI. — Straight-through  Tie-up  in  Four  Sections. 
XII.— Tying-up  of  Jacquard  Looms  with  Compound  Har- 
ness attached. 
XIII. — Tying-up  Jacquard  Looms  for  Gauze  Fabrics. 

Modifications  of  the  Single  Lift  Jacquard  Machine. 

I. — Double  Lift  Single  Cylinder  Jacquard  Machine. 

II.  — Double  Lift  Double  Cylinder  Jacquard  Machine. 

III.  — Substitution  of  Tall-cords  for  Hooks. 

Tying-up  of  Jacquard  Harness  for  Two-ply  Ingrain  Carpet. 

General  Description  of  the  Construction  of  the  Fabric, 
Straight-through  Tie-up. 
Point  Tie-up. 


APPENDIX. 


Preparing  and  Stamping  of  Jacquard  Cards. 

Dobby  Caid-Punching  Machines. 
Piano  Card-Stamping  Machines. 
Stamping  of  Cards. 


Repeating  Jacquard  Cards  by  the   Positive  Action 
Repealer. 
Lacing  of  Jacquard  Cards. 

Lacing  of  Jacquard  Cards  by  Hand. 
Lacing  of  Jacquard  Cards  by  Machine. 


PRACTICAL  HINTS  TO  LEARNERS  OF  JACQUARD  DESIGNING. 


Squared  Designing  Paper  for  the  different  Textile  Fabrics 
executed  on  the  Jacquard  Machine. 
Selection  of  the  Proper  Brush  for  the  different  D  De- 
signing Papers. 
Colors  used  for  Painting  Textile  Designs. 
Preservation  of  Textile  Designs 
Sketching  of  Designs  for  Textile  Fabrics  to  be  executed  on 
the  Jacquard  Machine. 
Methods  of  Setting  the  Figures. 
Size  of  Sketch  Required. 

Enlarging  and  Reducing  Figures  for  Sketches. 
Transferring  of  the  Sketch  to  the  Squared  Designing 
Paper. 


Glossary 


Outlining  in  Squares. 

Rules  for  Outlining  in  Squares  Inside  or  Outside  the 
Drawing  Outline. 

Illustration  of  a  Sketch — Outling  on  □  Paper — Finished 
Design — Fabric  Sample  (Single  Cloth). 

Designs  for  Damask  Fabrics  to  be  executed  on  a  Jac- 
quard Loom,  with  Compound  Harness  attached. 

Designs  for  Two-ply  Ingrain  Carpet. 

Designs  for  Dressgoods  Figured  with  Extra  Warp. 

Designs  for  Figured  Pile  Fabrics. 

The  Shading  of  Textile  Fabrics  by  the  Weave. 


ABSTRACT  OF  COMMENTS  OF  THE  LEADING  TEXTILE  PRESS  ON  THIS  WORK. 

It  is  a  thoroughly  practical  work,  written  by  one  who  is  master  of  the  business  in  all  its  various  branches. 
Boston,  Mass.,  November  19th,  1887.  Wade's  Fibre  and  Fabric,  Boston. 

The  work  is  well  gotten  up,  and  with  its  explanatory  illustrations,  cannot  fail  to  be  of  great  service  both  to 
the  student  and  the  advanced  weaver. 

New  York,  N.  Y.,  November,  1887.  The  Manufacturers'  Review  and  Industrial  Record,  New  York. 

This  work  has  long  been  a  serious  need  in  textile  mills,  and  amongst  designers  and  card  stampers,  and  we 
predict  for  it  a  wide  circulation.  Tributes  to  its  value  have  reached  us  from  most  prominent  manufacturers  in 
the  country. 

Philadelphia,  Pa.,  November,  1887.  The  Philadelphia  Carpet  Trade. 

The  most  important  addition  ever  made  on  this  side  of  the  Atlantic  to  the  literature  of  the  textile  industry,  etc. 
Philadelphia,  Pa.,  September  15th,  1887.  Textile  Record  of  America,  Philadelphia. 

It  is  a  great  work,  and  is  a  credit  to  the  author,  etc.,  etc. 

The  Bulletin  of  the  Philadelphia  Textile  Association,  now  the  Manufacturer. 
Philadelphia,  Pa.,  October  ist,  1887. 

It  is  the  only  work  in  the  English  language  that  treats  exclusively  on  the  Jacquard  Machine.  No  designer 
who  wishes  to  be  up  in  his  vocation  should  be  without  it. 

Boston,  Mass.,  November  5th,  1887.  Boston  Journal  of  Commerce. 


This  work  may  be  obtained  from  the  Author,  E.  A.  POSSELT,  2152  North  Twenty-first  Street,  or  HENRY  CAREY  BAIRD  &  CO., 
Industrial  Publishers,  Booksellers  and  Importers,  810  Walnut  Street,  Philadelphia,  or  SAMPSON  LOW,  MARSTON,  SEARLE  &  RIV- 
INGTON,  Limited,  St.  Dunstan's  House,  Fetter  Lane,  Fleet  Street,  London. 


305 


Patented  Aug.  21,  1888. 


STAFFORD'S 
Patent  iBqiiali/.lng  Spring  Jack 

Is  constructed  so  that  the  weight  on  harnesses 
is  reduced  in  lifting,  making  great  saving  in 
power.  Can  be  applied  to  any  Loom  or 
motion. 


WE  LEAD 
THEM 
ALL. 


Patented  Aug.  21,  1888. 


Horizontal  Lever.  Double-action 
Dobble. 

12  to  25  harness  capacity. 


GEO.  W.  STAFFORD  MFG.  CO., 

PROVIDENCE,  R.  I. 


To  THE  Textile  Manufacturers,  Greeting: — 

Your  attention  is  called  to  the  superior  advantages  of  our  special  machinery 
for  fancy  weaving,  for  producing  any  class  of  goods  that  can  be  woven  upon  a  loom. 

Upward  of  eight  thousand  looms  fitted  up  by  us  in  the  United  States  is  a 
sufficient  guarantee  of  our  ability  to  fulfill  all  we  promise. 


DOBBIES  OF  ANY  CAPACITY. 


JACGlUARD  MACHINES  UP  TO  1200  HOOKS, 

Single  or  Double  Action,  also  Rise  and  Drop  Shed  for  Worsteds. 


Patents--June  7,  1887,  and  Aug.  21,  1888. 


12  to  25  harness  capacity.   Compact,  easy  Single-action  tahedding  Engine, 

working,  reliable.  12  to  30  harness  capacity. 


306 


Patents— June  7,  1887,  and  Aug.  21,  ; 


Instruction  Given  in  Weaving  Any  Class  of  Goods, 
AND  SATISFACTION  GUARANTEED. 


GEO.  W.  STAFFORD  MFG.  CO., 

5    POINT  STREKT, 


StaM  Comber-Board, 


COMPOSED  OF  WIRE. 


Will  Not  Wear  Out,  Does  Not 
Cut  Harness. 


A  LARGE  NUMBER  IN  USE. 


Patented  September  6,  1887. 


307 


Schaum  Sl  Uhlinger, 

1080-1038  New  Market  Street,  Philadelphia,  Pa. 

MANUFACTURERS  OF 

RIBBON,  TAPE  AND  WEBBING  LOOMS, 

LATEST  IMPROVEMENTS.  NEW  PATTERNS. 


CIRCULAR  BATTONS, 

For  Ribbons,  Fringes,  Tapes,  Gimps,  Suspender  and  Goring  Web,  etc.  STRAIGHT 
BATTONS  with  one,  two,  three  or  four  Banks  of  Shuttles.  Our  Battons  are  made 
on  a  system  which  insures  accuracy  in  all  details  of  construction  ;  we  use  only  the  best 
materials  and  produce  the  best  Batton  in  the  market.  Write  us  for  estimates,  it 
will  pay  you. 


JACQUARD  MACHINES, 

With  any  desired  number  of  hooks.  Applied  to  any  manufacture  of  loom. 


Harness  Tied  up  for  all  Figured  Weaving. 


A  FULL  LINE  OF  WEAVERS'  SUPPLIES: 

Malls,  Lingoes,  Heddles,  Harness  Twine,  Compart-Boards,  Glass  Rings,  Shuttle  Eyes,  &c. 


If  you  contemplate  manufacturing  figured  goods,  write  to  us  for  information,  or 
send  us  samples  of  the  goods  you  desire  to  make  and  we  will  furnish  you  estimates 
for  a  complete  equipment,  including  Jacquard  Machines,  with  harness  tied-up, 
designs  made,  cards  cut,  etc. 

Sixteen  years  practical  experience  in  this  line  of  business  enables  us  to  give  our 
customers  the  best  results  with  the  least  expense. 


Schaum  &  Uhlinger, 

1030-1038  New  Market  Street,  Philadelphia,  Pa. 

308 


Patents— June  7,  1887,  and  Aug.  21, 


Rise  and  Drop  Shed  Jacquard, 

Specially  adapted  for  Heavy  Worsteds  and  Cloakings.   400  to  600  hooks  capacity. 


Sateen  Debbie.   3  to  13  Shades. 
More  goods  can  be  produced  than  with  cams 
(1200  in  use). 


Instruction  Given  in  Weaving  Any  Class  of  Goods, 
AND  SATISFACTION  GUARANTEED. 


GEO.  W.  STAFFORD  MFG.  CO., 

5    POINT  STRKBT, 


Stafford  Comber-Board, 


COMPOSED  OF  WIRE. 


Will  Not  Wear  Out,  Does  Not 
Cut  Harness. 


A  LARGE  NUMBER  IM"  USE. 


Patented  September  6,  18S7. 


Schaum  &  XJhlinger, 


1080-1038  New  Market  Street, 


Philadelphia,  Pa. 


MANUFACTURERS  OF 


RIBBON.  TAPE  AND  WEBBIN6  LOOMS 


LATEST  IMPR 


NEW  PATTERNS. 


Date  Due 


GIF 


For  Ribbons,  Fringe 
BATTONS  with  onr 
on  a  system  which  in- 
materials  and  produ 
will  pay  you. 


With  any  desired  nu_ 


Harm 


Mails,  Lingoes,  Hedd- 


:)NS, 

Veb,  etc.  STRAIGHT 
Our  Battons  are  made 
a  ;  we  use  only  the  best 
rite  us  for  estimates,  it 


INES, 

/  manufacture  of  loom. 

V eaving. 
ES: 

-Rings,  Shuttle  Eyes,  &c. 


If  you  contemplate  manuiacLuxmi;  u^uicia  gwOv^io,  vmuv^  uO  us  for  information,  or 
send  us  samples  of  the  goods  you  desire  to  make  and  we  will  furnish  you  estimates 
for  a  complete  equipment,  including  Jacquard  Machines,  with  harness  tied-up, 
designs  made,  cards  cut,  etc. 

Sixteen  years  practical  experience  in  this  line  of  business  enables  us  to  give  our 
customers  the  best  results  with  the  least  expense. 


Schaum  &  XJhlinger, 

1030-1038  New  Market  Street,  Philadelphia,  Pa. 


J  - 


p_  UHLINGER  Wop 

MACHINISTS,  ^ 

to  3S  B.  Canal  St.,  FHUa. 


Dobby  card-JPuncbltis  ^ 

This  machine  is  built  for  punching 
Jacquard  or  Dobby  Cards  of  the 
strongest  pasteboard,  punching  the 
wliole  card  at  one  revolution  or  stroke. 
Alter  the  keys  are  set,  any  number  of 
duplicates  can  be  punched.  It  is  well 
constructed,  simple,  and  a  most  effec- 
tive machine. 


Ribbon  Looms. 

Tape  Looms. 

Snspender  looms. 

Fringe  Looms. 

Single  Lift  Jacquard  Ma- 
chines. 

Double  Lift  Jacqaard  Ma- 
cMnes. 

Raise  and  Drop  SM  Jac- 
qaard MacMnes. 


JACQUARD  MACHIKH. 

■>ods  of  all  kinds,  from  the  lightest  to  the  heaviest, 
.  Single  lift,  double  lift  or  raise  and  drop  machines, 
idy  to  set  on  looms  of  any  make.  Our  raise  and 
o  weaving  the  finest  silk  and  worsted  goods. 


UHI^IIVGER'S  IMPROVEID  RIBBOI9  I.OOSI. 


3  3125  00027  1334 


